Reverb magazine - Issue 66 by Reverb Magazine

central coast|hunter|north coast #066 Jan/Feb

FREE

music, arts & culture monthly

MY CHEMICAL ROMANCE Portugal. The Man Dealing with the pressure

Coal Chamber Return of the loco

The Stepkids Keeping it in the family

plus: Beth Orton + Thee Oh Sees + Bad Religion + Colin Hay + The Stillsons

photo by kevin bull

No. 66

Reverb Magazine is locally owned & published by The Lockup Garage. Printed by Spotpress, Marrickville: sales@spotpress.com.au

index

contents

News 8-13 Greatest albums of 2011 14-16 The H-Gang 17 Colin Hay 18 Thee Oh Sees 19 The Stillsons 20 Steel Panther 21 Seether 21 Bad Religion 22 Portugal. The Man 23 My Chemical Romance 24-25 Coal Chamber 26 The Step Kids 27 Beth Orton 29 Motoring – Volvo S60 Polestar 30 Cartoon 31 Horoscopes 31 Live DVD reviews 32 Album reviews 33 FOTsun review 34 Homebake review 35 Peats Ridge festival review 36 Mullum festival review 37 Woodford review 37 Live reviews 38 Falls festival review 39 Film reviews 40 DVD reviews 41 Gig guide 42-44

editor’s letter

Credits

I must admit, deciding to do a mid-January issue rather than a January and February issue this time around gave me something I have not experienced for four years — a break from the magazine. Now I am not saying that I do not love working on Reverb but it can be an all-encompassing experience. I managed to have a true 10 day break which has recharged the batteries for 2012. I hope you all managed to also find the time to do the same. In this issue we take our annual look at the best releases of the previous year, plus there were so many festivals to cover. Our next issue will be the same with BDO, Laneway and Soundwave fast approaching. Bring it on I say. Much love guys, Kevin

Editor

Film reviewer

Writers

Luke Saunders

Editorial

Kevin Bull

Mark Snelson

Tim Boehm

Jess Saxton

kevin@reverbstreetpress.com or 0410 295 360

Kevin Bull

Lee Tobin Linda Wales

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magazine issue #066 — Jan–Feb 2012

Contacts

Sub-Editor

DVD Reviewer

Eliza Church

Kate Hamilton

Sallie Maree Pritchard

Josh Clements

Sales, Newcastle & Central Coast kevin@reverbstreetpress.com or 0410 295 360

Emily Cones-Brown

Photographers

art director

Motoring writer

Cameron Edney

Chris Ahern

Sales, North Coast

Cam Bennett

Peter Douglas

Craig Faulkner

Tim Boehm

stephen@reverbstreetpress.com or 0458 559 938

Charli Hutchison

Kevin Bull

North Coast Mgr

Cartoonist

Lauren Jackson

Bibi Eckhardt

Gig guide

Stephen Bocking

Tony Jenkins

Jamie Nelson

James Gallagher

gigguide@reverbstreetpress.com.au

Amelia Parrott

Cassandra Hannagan

Senior Writers

Jordyn Paull

Ashlee Kellehear

Production

Birdy

Terry Paull

Julie Lowe

cam@reverbstreetpress.com.au

Matt Petherbridge

Lilen Pautasso

Kiah McCarthy

Max Quinn

Matt McIntyre

Postal address

Melissa Roach

Sam Paquette

PO Box 843, Woy Woy NSW 2256

Caroline Russo

Emma Visman

WEDNESDAYS

LOCAL MUSIC THURSDAYS

LOCAL SOLO ARTIST NIGHT WEEKENDS

KARAOKE OUT FRONT, BANDS OUT BACK!

Live It Up Karaoke

FRI SAT 9.30PM–2.30AM FRONT BAR

Monday Night Poker Tuesdays

$20 BUY IN CASH PRIZES

7.30PM BEAUMONT STREET’S ONLY POOL COMPETITION

Happy Hour

THURS SUN 4-6PM $3.50 SCHOONERS

2-6 BEAUMONT ST OPEN 9.30AM-3AM DAILY

02 4961 3852

EXCEPT SUN 10AM-MIDNIGHT

news

Giveaways just email editorial@reverbstreetpress.com.au First come, first served

2 double passes

Win one of two double passes to see My Chemical Romance at the Hordern Pavilion, Sydney, on Friday January 27.

5 copies

3 DVDs

Three copies of Red Dog on DVD.

One “New Year” 5 CD pack, containing Pleasure Syndrome (Witch Hats), Sky Full of Holes (Fountains of Wayne), Hearts & Arrows (Danny & the Champions of the World), Emperor’s Nightingale (Stereo MCs), Sem Nostalgia (Lucas Santtana) on CD.

SBTRKT Friday February 3 – Metro Theatre, Sydney Twin Shadow, Anna Calvi Monday February 6 – Oxford Art Factory, Sydney Feist Tuesday February 7 – Enmore Theatre, Sydney GIVERS, Portugal. The Man Tuesday February 7 – Metro Theatre, Sydney The Drums and Cults Wednesday February 8 – Enmore Theatre, Sydney Washed Out, Toro Y Moi Wednesday February 8 – Manning Bar, Sydney M83 Thursday February 9 – Metro Theatre, Sydney Yuck, EMA Thursday February 9 – Oxford Art Factory, Sydney Austra Thursday February 9 – The Basement, Sydney

3 copies

Three copies of The Hour on DVD

THE SIDESHOWS BIG DAY OUT

5 copies

Five copies of Ministry of Sound’s Clubbers Guide to 2012 on CD. Best Coast Wednesday January 25 – Manning Bar, Sydney

Noel Gallagher’s High Flying Birds Monday January 23 – Enmore Theatre, Sydney

Mariachi El Bronx Wednesday January 25 – Metro Theatre, Sydney

Foster The People Monday January 23 – The Tivoli, Brisbane Wednesday January 25 – Enmore Theatre, Sydney

Soundgarden, The Bronx Wednesday January 25 – Sydney Entertainment Centre

Battles Monday January 23 - Metro Theatre, Sydney Das Racist Tuesday January 24 – The Zoo, Brisbane Wednesday January 25 – Oxford Art Factory, Sydney Cavalera Conspiracy Tuesday January 24 – Panthers, Newcastle Saturday January 28 – Metro Theatre, Sydney Monday February 6 – The HiFi, Brisbane Kitty, Daisy and Lewis Tuesday January 24 – Metro Theatre, Sydney Kasabian, The Vaccines Tuesday January 24 – Hordern Pavilion, Sydney My Chemical Romance Tuesday January 24 – Eatons Hill Hotel, Brisbane Friday January 27 – Hordern Pavilion, Sydney Odd Future Tuesday January 24 – Enmore Theatre, Sydney 8 reverb

magazine issue #066 — Jan–Feb 2012

Royksopp Friday January 27 – Enmore Theatre, Sydney

Bad Religion, Strung out, Street Dogs, The Menzingers Wednesday February 29 - Big Top Luna Park, Sydney Machine Head, Chimaira, Shadows Fall, Times of Grace Wednesday February 29 - UNSW Roundhouse, Sydney Enter Shikari, Letlive, Your Demise Wednesday February 29 - The Metro, Sydney Mastodon, Gojira, Kvelertak Thursday March 1 - The Hi-Fi, Sydney Four Year Strong, I Am The Avalanche, Fireworks, Conditions Thursday March 1 - Manning Bar, Sydney Black Label Society, Hellyeah, Black Tide, Holy Grail Thursday March 1 - The Metro, Sydney

Marilyn Manson, Coal Chamber, Wednesday 13, Motionless in White Friday February 24 - Eatons Hill Hotel, Brisbane Wednesday February 29 - Enmore Theatre, Sydney Slipknot, Trivium Monday February 27 - Sydney Entertainment Centre Thursday, Saves The Day, Circa Survive Monday February 27 - Metro Theatre, Sydney

Cage The Elephant Saturday January 28 – Oxford Arts Factory, Sydney

Bush, Staind, Cherri Bomb Monday February 27 - Enmore Theatre, Sydney

Girl Talk Saturday January 28 – Enmore Theatre, Sydney

Dashboard Confessional, Jack’s Mannequin, Relient K Monday February 27 - Manning Bar, Sydney

Active Child Sunday January 29 – Oxford Art Factory, Sydney

System Of A Down Tuesday February 28 - Sydney Entertainment Centre

Chairlift Tuesday January 31 – Oxford Art Factory, Sydney

Lamb of God, In Flames, The Black Dahlia Murder Tuesday February 28 - Eaton Hill Hotel, Brisbane

The Horrors Thursday February 2 – Metro Theatre, Sydney

Unwritten Law, Zebrahead, Royal Republic Tuesday February 28 – The Hifi, Brisbane

SOUNDWAVE

Kanye West Friday January 27 - Sydney Entertainment Centre

Girls Thursday February 2 – Oxford Art Factory, Sydney

Hatebreed, Cro-Mags, Biohazard Tuesday February 28 - Newcastle Panthers

Laura Marling Thursday February 9 – Sydney Opera House, Sydney

A Day To Remember, The Used, You Me At Six Monday February 27 - Eaton Hill Hotel, Brisbane Tuesday February 28 - UNSW Roundhouse, Sydney

LANEWAY

Sydney

Lostprophets, Kids in Glass Houses, VersaEmerge Tuesday February 28 - The Metro, Sydney Alter Bridge, Steel Panther Tuesday February 28 - Enmore Theatre,

palms

BACK TO SCHOOL AT THE CAMBRIDGE

The summer holidays are a time of sun, friends and the creation of indelible memories. But when the first day of university arrives everybody comes crashing down to earth.The Back To School party is the last chance for students to have an all-out bender before the realities of 2012 rear their ugly heads. On Saturday, February 25 at the Cambridge Hotel, Newcastle, a selection of Australia’s coolest bands and some choice DJs will help uni kids to farewell the summer holidays with one big night to remember. The night will feature a performance by Palms, the new band from Red Riders singer Alex Grigg and drummer Tom Wallis. There will also be a performance by the mighty Step-Panther, who have been sending dancefloors aflutter with their 90-inspired whirlwind jabs of garage pop. Maids are a band that have had jaws on the floor at every one of their mind-bending shows. Imagine Queens Of The Stone Age jamming with Jack White in a garage and creating mathrock mayhem. Vulture Culture are more than qualified to kick off the evening’s proceedings with their youthful jolts of angular indie-rock.

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MORNING OF THE SUN, LIVE IN CONCERT

SOUNDS OF SUMMER RETURNing TO THE LENNOX HOTEL

bonny ‘prince’ billy

UP LATE AT GOMA

The Gallery of Modern Art in Brisbane is open Up Late on Friday nights from January 20 to March 2 during ‘Matisse: Drawing Life’. Up Late takes a sophisticated, soulful approach with DJ Archie Jacobson in the early evening, introducing the lush arrangements of the Art Ensemble of Chicago, Django Rheinhart, Alice Coltrane, Wes Montgomery, Don Cherry, Miles Davis, and Chet Baker. Up Late features contemporary artist talks, costumed models bringing The Drawing Room to life, and music performances with an acoustic edge providing the perfect backdrop to the exhibition. Artists performing include Eleanor Friedberger from the Fiery Furnaces on Friday January 20; Sam Amidon on Friday January 27; Brous on Friday February 3; Palimpsest featuring Tyrone Noonan on Friday February 10; Jason Lyttle from Grandaddy on Friday February 17; Halfway on Friday February 24; Bonnie ‘Prince’ Billy on Friday March 2.

Can you hear that? It’s the Lennox Hotel’s ‘Sounds of Summer’ DJ competition and it’s on its way back to town. Last year the comp unearthed some of the hottest new DJs on the coast, with the winner walking away with a bucket load of prizes. This year’s competition is going to be huge again, with some of the freshest DJs rumoured to be headed this way. And to add to the excitement, unlike last year when the DJs were restricted to one type of equipment, this year they can use any platform they like. So here’s fingers crossed for some old school vinyl busting up the room. So don’t sit at home on Friday night. Starting in mid-February, DJs from right along the coast will be gathering to battle it out head to head in a no moves barred battle to the death. This year the winner gets an all expenses paid trip to Sydney to play at the iconic Coogee Bay Hotel, with luxury accommodation thrown in. A DJ voucher worth thousands of bucks. But best of all (according to us) the winner also gets to become world famous with an exclusive one-on-one interview the mighty Reverb magazine. The event always pulls a sexy crowd, so don’t be shy about getting down to the Lennox Hotel early. If you think you’re a pretty damn hot DJ, and you wouldn’t mind showing the rest of the world just how it’s done, get in contact with the Lennox Hotel ASAP and we’ll get ready to watch you burn down the house.

josh pyke

JOSH PYKE TOURS THE REGIONALS

Josh Pyke will hit regional Australia for an extensive run of dates throughout February on the Only Sparrows tour. The dates follow his recent sold-out shows in capital cities in support of his new album. Debuting at #4 on the Aria album chart, Only Sparrows is Josh’s third album to debut in the top five in the ARIA charts. Written on the road and in New York City and recorded back home with ARIA award-winning producer Wayne Connolly, it’s an album that saw Pyke take a leap as an artist, and has wowed critics. Showcasing album tracks including the brand new single ‘Punch in the Heart’, the Only Sparrows Regional Tour will travel through the country, stopping in at the Entrance Leagues Club, Bateau Bay, on Thursday February 2; Port Macquarie Panthers on Friday February 3; Hoey Moey Hotel, Coffs Harbour, on Saturday February 4.

Morning of the Earth, released in 1972, was the first surf film to capture the nomadic life of Australian surfers. It had no narration but instead a soundtrack made up of songs written specifically for the movie. The soundtrack became a top 10 hit and was the first compilation CD to reach gold status and has now gone platinum several times over. Performing at the 40th anniversary celebration of Morning Of The Earth – the original film and music live in concert, will be original performers Brian Cadd, guitarist Tim Gaze (Tamam Shud) and special guests Mike Rudd (Spectrum), Lior and Gyan. Audiences can expect an array of countrysoul and psych folk-songs including ‘Simple Ben’, ‘Making It On Your Own’, ‘Open Your Heart’. Morning Of The Earth – The Original Film and Music Live In Concert – will be at the Civic Theatre, Newcastle, on Tuesday January 24.

FALLOPIAN TUNES SUMMER TOUR

The identity of the Fallopian Tunes label is forged in the collaborative and collective relationships between the musicians and artists involved. There is an all embracing aesthetic to straight up ‘good shit’. Not focusing solely on music - the family incorporates artists, graphic designers, photographers and futurists all able to add, share and expand to what is happening within the label. Fallopian Tunes goes on vacation this summer bringing a colourful cross-section of sounds from Wild Dog Creek, Document Swell, Red Hymns, Yolke, Trjeau, Polyfox And The Union Of The Most Ghosts, Frederick and Before Tigers at the Croatian Club, Newcastle, on Wednesday January 25.

MADE USING DRAIN CLEANER, BATTERY ACID OR EVEN HAIR BLEACH. THEN POPPED IN YOUR MOUTH. Crosby Stills and Nash

ECSTASY. FACE FACTS. For more information call 1800 250 015 or visit australia.gov.au/drugs

Authorised by the Australian Government, Capital Hill, Canberra.

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reverb magazine issue #066 — Jan–Feb 2012 9

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PARKWAY DRIVE’s SICK SUMMER II TOUR

guttermouth

GORGEOUS GUTTERMOUTH RETURN

Straight out of California, Guttermouth have been stirring controversy for almost 25 years. Few bands match their intensity onstage or off. They have seen the rise and fall of many of their punk rock contemporaries, all the while managing to maintain their explicit in-your-face attitude in the name of good fun. In January they will drive all the way up the east coast, performing at the Beachcomber Hotel, Toukley, on Sunday January 22 (supports Driver’s Side Airbag, Pants Optional and Floggin’ the Goods), and Cambridge Hotel, Newcastle, on Thursday January 26 (supports Liberation Front, The Worstmn and Local Resident Failure).

BUSBY MAROU TOUR THE EAST COAST

Busby Marou are quickly gaining a reputation as one of the hardest-working live bands in Australia. They spent the back end of 2011 touring with the likes of Dolly Parton, KD Lang and Pete Murray as well as some hugely successful headline shows across the Nation. Busby Marou scored high rotation slots from Triple J and NOVA and their debut self-titled album reached #24 on the ARIA album charts and #5 on the Australian artist charts. Their recent TV performance of ‘Underlying Message’ on Rockwiz, including Jeremy’s ukulele shredfest, has certainly sent tongues wagging. Busby Marou are stoked that Georgia Fair has accepted their invitation to join them on their tour of the coast that sees them performing at the Hoey Moey Hotel, Coffs Harbour, on Thursday January 19; Coolangatta Hotel on Friday January 20; Lizotte’s Kincumber on Friday January 27; Lizotte’s Lambton on Sunday January 29.

GUM BALL FIRST LINE-UP ANNOUNCED

Rolling back into the secluded bushland confines of the Hunter Valley, the eighth annual Gum Ball Music and Arts Festival is well and truly back for 2012. Set to be held April 27-28, organisers have released a first-round lineup that’s sure to entice the festival connoisseurs among us. From around Australia, we have Brisbane’s favourite indie-pop heroes, Custard, Sydney’s dreamy jungle folk players, Jinja Safari, blues legend, Ash Grunwald, featuring critically acclaimed vocalists, Vika & Linda Bull, Melbourne’s finest alt-country outfit, Wagons, Darwin’s biggest soul export, Sietta, International guitar virtuoso, Kim Churchill, Adelaide’s monolithic tech-pop six piece, Fire! Santa Rosa Fire!, coastal drifters, Benjalu, and West Oz’s emerging rock and roll superstars, The Joe Kings. The Gum Ball has an enviable reputation for selecting some of Australia’s greatest established and emerging acts each year, providing a diverse musical program. The festival provides camping and BYO options in a beautiful, kicked-back country environment.

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magazine issue #066 — Jan–Feb 2012

Kicking off the new year with the Big Day Out festivals, Parkway Drive has announced a run of regional dates for February and March. “Summer time in Australia. Is there any other place you’d want to be?” asks frontman Winston McCall. “For us it means a chance to hit the road in the country we love and play… those places we don’t get to stop at as much. We figure the major cities have had their chance, so it’s time to bring the show back to regional Australia, and see how crazy the small towns can get. These tours always end up as some of the funnest shows we play, anywhere. Sweaty venues, stage dives, sing-alongs, beach hang outs. Sick Summer indeed.” Parkway Drive perform at the YAC Amphitheatre, Byron Bay, on Saturday February 18; Twin Towns Resort, Tweed Heads, on Sunday February 19; Port Macquarie Panthers on Wednesday February 22; Bateau Bay PCYC on Thursday February 23. All shows all ages.

CORTISONE to play FIRST GIG for 18 MONTHS

Newcastle band Cortisone return to the live scene with their first gig in 18 months. Having released two albums, Begin Again and The Fight with the Ordinary, pre-production for the third album has begun and the band is committed to carrying on long into the future. “We’re not driven by sales, and not hamstrung by commercial restraints,” says vocalist Daz. “We’re lucky enough to have the luxury of writing and recording for fun and have found a large and amazing fan base, consisting of people who appreciate rock music. While people are enjoying our records we’ll keep making them... and probably just a little bit after that too!” Cortisone, with The Big Empty, Age of Menace and Level 8 in support, perform at the Cambridge Hotel on Friday February 3.

NOT SO LAIDBACK LUKE

Born in Manila and educated in The Netherlands, Laidback Luke has come a long way since his days as a graffiti artist. Lucas Cornelis van Scheppingen is quite a mouthful, so it’s good that he’s known as the Dutch Dynamo, Laidback Luke. If the windows are bulging, the speakers bursting and people dancing, chances are the crafty cat that is Laidback Luke is somewhere nearby. His first album arrived in 1999, before his 2002 album, Electronic Satisfaction, propelled him to greatness. Luke has worked alongside the stalwarts of electronic music – The Swedish House Mafia as well as David Guetta, Moby, Black Eyed Peas and Junior Sanchez. Oh, he’s also remixed for the legendary Daft Punk, Dizzee Rascal, Depeche Mode and MSTRKRFT. Laidback Luke performs at King Street Hotel, Newcastle, on Saturday February 4.

ZAPPA RETURNS

From a mysterious research facility in California to the stages of theatres and festivals across the globe, Zappa Plays Zappa is prepared once again to respectfully expose Australian fans to Frank Zappa’s extraordinary achievements in music! Following his 2009 visit to our shores, Frank’s son Dweezil proved he is the perfect conduit for his father’s vast catalogue as his band delivered stunning interpretations of ‘Black Napkins’, ‘Apostrophe’, ‘Cosmic Debris’ and ‘Willie The Pimp’. Zappa plays Zappa perform at Newcastle Panthers on Sunday April 8, and Bluefest, Byron Bay, on Monday April 9.

jungal

CANADIAN JUNGAL

With much of 2012 being planned to be touring North America, the touring team of Melbourne all-gal favourites, Jungal, and Canadian indie folk princess, Faye Blais, will be making one final run up the east coast. The combination of Jungal’s roots, rock, folk and pop, and Blais’s mesmerising indie folk tones and internationally praised vocals has enabled the tag-team to tour the globe together. Jungal and Faye Blais perform at Rails, Byron Bay, on Sunday January 15; Finnian’s Tavern, Port Macquarie, on Friday January 20; Lass O’Gowrie Hotel, Wickham, on Saturday January 21.

CHINO’S BAR OPENS DOORS

At a time when popular music venues are closing down across the country - some good news for the live music scene, with a new venue opening its doors in Newcastle. Chino’s Bar, located on the Denison street side of The Cambridge Hotel in Newcastle West, aims to fill the gap in Newcastle’s nightlife, promising a boutique music and arts venue with an intimate Melbourne-style feel. The sub-vintage décor in Chino’s is made up of 90 per cent recycled materials and modelled on dive bars visited by venue curators Leroy MacQueen and Katherine Friend on recent trips to the United States. A wall mural painted by local artist Dylan Easton surrounds a new stage that will host a variety of local, national and international bands from a wide range of genres. Chino’s Bar opened on Wednesday January 11 hosting Wollongong two-piece, Mother & Son, followed by San Francisco’s Thee Oh Sees on Wednesday January 18.

DELTA LIONS LAUNCH DEBUT

With only 12 months under their belts, but with years of experiences as musos, the country/indie/blues of The Delta Lions has been heard throughout many a Newcastle venue. Drawn from a love for The Replacements, Old 97’s, Bruce Springsteen, Jawbreaker, The Hold Steady and Lucero, The Delta Lions’ rock roots and love for classic songwriting, give the band a unique, soulful and sincere sound. Strong guitar-driven riffs and sing-along choruses with lyrics about the good old days help the band reach audiences both young and old. The Delta Lions launch their debut full-length release, Magnetic Sound, at the Great Northern Hotel, Newcastle, on Saturday February 4, with Leadfinger, Hazards and Landon Elliot River in support.

flickerfest

FLICKERFEST HITS THE ROAD

Australia’s leading short film festival enters its 21st year as the Flickerfest International Short Film festival hits the road for its national tour. Over 2,000 entries were received at Flickerfest headquarters in Bondi, an overwhelming response and almost 500 more than were received last year. Flickerfest is fresh, bite-sized global cinema at its best — an event not to be missed as it stops off at A&I Hall, Bangalow, January 20-22; Avoca Beach Theatre on February 3-4; Dungog Cinema on February 11; Crescent Head Public School Auditorium on February 16; Nambour Civic Centre on February 17; First Avenue Cinema, Sawtell, on February 17-18; Oddfellows Hall, Kempsey on February 17 - 18; Playhouse Hotel Cinema, Barraba, on March 11.

CHASE THE SUN start WEARing THE PANTS

After something of a break in 2011, hardrocking blues enthusiasts Chase The Sun are back with a vengeance in 2012, embarking on a tour featuring a bevy of NSW shows to back up the digital release of their new track ‘The Pants’. Recorded in Sydney’s Blue Mountains, ‘The Pants’ embodies the sound that has catapulted Chase The Sun to the forefront of the Aussie blues and roots scene the passionate delivery of frontman Jan Rynsaardt, teamed with a bottom-heavy rhythm section assault, screaming guitars, a good sense of humour and a tip of the hat to the classics of the genre. Chase The Sun perform at the Wickham Park Hotel, Islington, on Saturday January 21 with Claude Hay, and Grand Junction Hotel, Maitland, on Friday January 27..

THEE OH SEES HIT BYRON AND NEWCASTLE

What’s the first thing you think of when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, melody-maiming John Dwyer careening across your cranium, rounded out by a wild-eyed wrecking crew that drives every last hook home like it’s a nail in the coffin of what you thought it meant to make 21st century rock ‘n’ roll? Yeah, that sounds about right. But it misses a more important point – how impossible Thee Oh Sees have been to pin down. Thee Oh Sees perform at Woody’s, Byron Bay, on Tuesday January 17 (with Straight Arrows and The Ganashz in support), and Chino’s Bar, Newcastle, on Wednesday January 18 (with Straight Arrows and Bare Grillz in support).

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CASHIN PREPARED FOR THIRD RELEASE

laura hill

LAURA HILL UNDER THE GUAVA TREE

It’s time for Laura Hill to hit the road with her sparkling new EP The Guava Tree. After a stand-out 2011 which saw Laura sell out of her first LP, Over My Shoulder; tour with Matt Corby; support the likes of Passenger (UK), Kim Churchill and Bonjah; record and launch her new EP and appear at Anglesea and Queenscliff Music Festivals, she now takes her feel-good tunes to the highways and byways of Australia’s east coast. Unbelievably, this tour almost didn’t happen. At a recent band rehearsal with her backing band The Tuesday Bandits, Hill’s car boot knocked her unconscious and she was left lying in the gutter until her housemates took out the bins. But despite a bump on her head and a damn good story to tell, Hill’s music is set to roll your way like a summer breeze. Laura Hill performs at Lizotte’s Kincumber on Wednesday February 1; Rails, Byron Bay, on Thursday February 2; Grand Junction Hotel, Maitland, on Sunday February 5.

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magazine issue #066 — Jan–Feb 2012

“We have created some great new music here while also revisiting Sydney-based producer Simon Tonx of Suburbia Studios,” according to Mark Cashin. “He’s worked with some of the best — The Church, INXS, Grinspoon, Noiseworks, Billy Idol, Public Enemy… just to name a few. The new album yields a diverse direction, a new sound and we are wrapped with the new tunes.” Mark Cashin and The Lil Hussys perform at the Cessnock Rugby Supporters Club on Friday January 20 supporting Spy vs Spy; Coast Hotel, Budgewoi, on Saturday January 21; Beachcomber Hotel, Toukley, on Saturday January 28, supporting Ross Wilson.

EMERSON RELEASE NEW EP

It has been a long two years since they released their self-titled EP, but the wait is now over for Newcastle band Emerson. Apart from all the recording needed to finish off the new EP, 2011 held many exciting moments — a slot at the New Beginnings and Black Stump festivals, and supporting Lydia (USA), As Tall As Lions (USA) and Ben Jorgenson (USA) to name a few. With the new EP soon to be available, 2012 looks bigger and brighter. Emerson, supported by Chasing Light and Shirts From Matthew perform at the Great Northern Hotel, Newcastle, on Friday March 2.

hatebreed

SOUNDWAVE SIDESHOW HITS NEWCASTLE

A massive Soundwave sideshow has been assembled and is on its way to Newcastle. Hatebreed: Respected by peers; revered by fans; an unstoppable force. The hardcore legends have been annihilating mosh pits around the globe for over 17 brutal years. Hatebreed’s music is a universal language - architects of positive, uplifting anthems that require and demand crowd participation. Before Cro-Mags, the idea of combining heavy metal and hardcore was unheard of. They defined the hardcore/metal genre with the release of their classic debut album The Age Of Quarre. Adding to the chaos are the influential and newly re-formed New Yorkers, Biohazard, whose intense fusion of hardcore, punk and trash metal has out-lasted many fads and forged a career spanning over two decades and millions of album sales. Hatebreed, CroMags and Biohazard perform at Newcastle Panthers on Tuesday February 28.

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comedy gala night at newcastle’s civic theatre

For one fantastic night of music and merriment we’re bringing some of the hottest comics to Newcastle’s iconic Civic Theatre on March 10. Featuring a line-up worthy of any international comedy festival, Laughing Stock is set to become a must-do on the Newcastle social scene. In the incredible time that they have been together, The Axis of Awesome have blown away audiences across Australia and around the world with their mixture of original comedy songs and pop parodies. The Blanks (aka Ted’s Band from the TV show, Scrubs) have packed their bags with a cappella tunes and sketch comedy and are heading for the Civic Theatre in their only Newcastle performance. Claire Hooper is best known for her role as a team captain on Channel Ten’s Good News Week but she has also appeared on Rove Live, ABC TV’s The Sideshow, and The Comedy Channel’s Stand Up! Australia. And, in a triumphant return home, former Novocastrian Rhys Nicholson will be special guest MC for Laughing Stock, warming up the crowd and keeping them cackling all night with his own caustic observations. The Laughing Stock Comedy Gala is on at the Civic Theatre, Newcastle, on Saturday March 10.

CAVALERA CONSPIRACY PLAY NEWCASTLE PANTHERS

Cavalera Conspiracy was created following a decade-long silence between Max and Igor, the two brothers who as teenagers formed the legendary, trailblazing heavy metal band Sepultura, way back in 1984. Max left Sepultura and formed Soulfly in the late 90s. Igor stayed in Sepultura for a few more albums before splitting himself in 2006. Less than two years later the metal world was turned upside by the debut album from Cavalera Conspiracy. Max Cavalera is very forthright about the fact that Cavalera Conspiracy is a metal band. “Cavalera is super metal, it’s supposed to be metal, it’s not supposed to have anything else but metal and hardcore in it. The new album (Blunt Force Trauma) is even heavier and more aggressive than the first one.” For the very first time in Australia, Cavalera Conspiracy are set to cause mayhem around the nation, performing at Newcastle Panthers on Tuesday January 24.

360 EXPLODES IN 2012

The juggernaut that is otherwise known as the life and times of 360 has well and truly left 2011 in the dust and smashed its way into 2012 with one of the stand-out performances at the Falls Festival this New Year’s Eve. With less than a month until the tour kicks off, we are stoked to announce a swag of acts who will have Six’s back as he hits the road. 360, with Seven and Vegas Aces in support, perform at the Great Northern Hotel, Byron Bay, on Saturday February 4.

THE SPIRIT OF DANCE

The Byron shire town of Mullumbimby will host the inaugural Byron Spirit Festival during February. This event will invigorate body, mind and soul in an inclusive, community-based celebration. Local, national and international practitioners will impart their gifts within a charming village hub of healthy lifestyle, natural beauty and social awareness. Inspired by the success of the Mullum Music Festival, the Spirit Festival will incorporate and promote the many yoga studios, health clubs, health food outlets, cafés, markets, and college and community halls for the weekend’s activities. The Byron Spirit Festival runs February 17-19 in Mullumbimby. Find us on Facebook

VAN WALKER ON THE RADAR

Melbourne’s best kept roots secret, Van Walker, hits the road to commemorate the launch of his latest album Underneath The Radar. The album compiles Walker’s five independently released solo albums, between 2008 and 2010 – a cherry-picked collection of incredible songs designed to announce, to the rest of the world, Walker’s prolific songwriting talent. This is a brilliant performer and a star worthy of wider recognition. Walker is set to bring to life the wonderful words and music that have made him a live favourite and is sure to further cement his rightful place at the forefront of Australian roots music. Van Walker performs at the Grand Junction Hotel, Maitland, on February 11-12; No. 5 Church Street, Bellingen, on Friday February 17; The Treehouse, Byron Bay, on Saturday February 18.

SAN CISCO AND JUNGLE GIANTS TAG TEAM

Two bright up-and-comers are teaming up to bring ‘The Politely Awkward Tour’ to life. San Cisco and The Jungle Giants are getting adroit and cordial as they join forces in their first-ever national tour. Playing capital cities as well as a few lucky regionals, the indie-pop double bill is sure to get the kids dancing with gay abandon in a way that is anything but polite! The Jungle Giants’ rollicking chaotic indie tunes will be the perfect complement to San Cisco’s garage pop on their debut national co-headline tour. The popsters will take turns sharing the limelight and their youthful energy is bound to get the crowd moving, so shake a leg and snap up these tickets, as they sure aren’t going to last long. San Cisco and The Jungle Giants perform at the Brewery, Byron Bay on Thursday February 16, and Great Northern Hotel, Newcastle on Sunday February 19.

STEVE SMYTH homebound

Hailing from the rugged heartland of the New South Wales south coast, Steven Smyth’s roots in music can be traced back past adolescent forays into punk, folk and rock, to a childhood of Sunday gospel sessions. Smyth has since relocated temporarily to London, and has recently toured with the likes of Angus and Julia Stone, Avi Buffalo and Ben Harper. A convivial chap of boundless energy, his musical diversions thus far have also included his joining Operation Juliet, a roving group featuring Sean Lennon and Mark Ronson, amongst others. But it’s with his own solo work that he will become known by the wider world. Steve Smyth performs at the Great Northern Hotel, Newcastle, on Friday January 20.

LIVE & LOCAL AT LIZOTTE’S

Lambton Lizotte’s: Wednesday January 18, Karen-Anne Waters, Isabella & Callum, The Delta Lions, Taylor & The Makers; Sunday January 22, Israel Cannon; Wednesday January 25, Patrick James, Zoe Elliott, The Evergreen Trail; Wednesday February 1, Rhys Zacher, Hayden French, Jade Gannon, Bye Bye Birdy; Wednesday February 15, Thomas Lawson; Wednesday February 22, Day Dreamers, Peta Evans-Taylor, Marty Worrall, Broadway Mile. Kincumber Lizotte’s: Wednesday January 18, Ollie Brown, Luke Watt, Nigel Wearne, The Firetree; Wednesday January 25, Hats Bennett, Rowan Falzon, Flood The Sky; Wednesday February 1, Laura Hill, Larissa Ann, Mudhouse, Aleyce Simmonds; Wednesday February 8, Minimum Brothers, Tim Sheumack, Matthew Hickey; Wednesday February 15, Claire Sheather, Jacob Emerson, Jessica King, James Osborn, Tom Beasley, Bradley Quaife.

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1300 438 849 or moshtix.com.au Presented by Michael Coppel I briansetzer.com reverb magazine issue #066 — Jan–Feb 2012 13

Wooden Shjips West

James Blake

Mastodon

Cage The Elephant

Psychedelic San Franciscan four-piece Wooden Shjips take their obsession with Americana to dizzying heights with West. Spooky reverb-laden vocals figure throughout this album of dense and free sonic experiments. Wooden Shjips have truly outdone themselves, producing their most lucid release to date.

Blitzen Trapper American Goldwing

Blitzen Trapper’s sixth album, American Goldwing, proudly opens with a countryinspired number, ‘Might Find It Cheap’, which made me want to jump in a car and hit the road, with the stereo up full-tilt. Sweet harmonica/piano melodies are layered with ambitious distortion and carefully structured to give a full, clear-cut sound.

Death Cab for Cutie Codes and Keys

Codes and Keys, is lyrically brighter and more optimistic than anything in their catalogue, but is still fed through the same melancholy framework that has distinguished their career. It’s a completely different record to anything they’ve recorded before, but still every bit as good as Plans and Narrow Stairs.

James Blake

Papa vs Pretty

Mutemath

An elaborate combination of electronic ambience and reverberation, Blake’s album is a post-dubstep escapade with no individual stand-out tracks, but a cohesive collection of musical movements, choreographed to near perfection.

The Hunter

Mastodon have created their most streamlined, rock-oriented offering yet, veering away from the conceptual masterwork and dazzling prog-metal of their critically acclaimed Crack The Skye album. The Hunter’s straightforward approach is offset by a taut collection of addictive rock songs and the unique metal sound of a band in continuous creative upswing.

Thank You, Happy Birthday

There is something Pixie-esque about Cage the Elephant’s second LP. It’s a rebellious album with no real theme, which gives it a bad-ass effect, perfect for listening to on shuffle. Thank You, Happy Birthday is basically, a fun, grungy collection of overbearing crescendos with not much of a story. Good psych-up music.

United in Isolation

Cut Copy

The Rapture

In terms of melodic construction, enthusiasm and unmatched inventiveness, Papa vs Pretty have blown every other Australian rock record of 2011 out of the water with their debut album United in Isolation. Sonic comparisons to Radiohead, Jeff Buckley, Elliot Smith and Dinosaur Jr, are being thrown at this album, but none of them stick long enough to stain.

Odd Soul

New Orleans rock quartet Mutemath has mastered the skill of fusing genres to create a smorgasbord of sounds on their latest album Odd Soul. A great listen, with enough variation to suit multiple audiences, this is without a doubt some of Mutemath’s best work yet.

Cold War Kids Mine is Yours

The intimidating, 16-minute long ‘Sun God’ closes the album with three epic sections of massive drums with tribal chanting, moving into INXS sex-funk territory, counterpointed with chants of “you’ve got to live” and “love won’t give you enough”. Zonoscope isn’t some crappy made up name, it’s a damn good record. Surrender now or forever hold your peace.

In the Grace of your Love

Taking their time with new album, In The Grace Of Your Love, has certainly paid off. The 11-track release is The Rapture’s most cohesive and engaging to date. In The Grace Of Your Love is sublime - a fantastic return to form for The Rapture and possibly one of the top albums of the year.

Friendly Fires

Portugal. The Man

The rustic and melancholy blues of their previous albums has progressed to a sound immersed in reverb and delay, but Willett’s dramatic high voice continues to echo through the honest lyrics and raw instrumentals.

Zonoscope

Pala

On their sophisticated sophomore effort, Pala, Friendly Fires combine thumping bass lines, sparkling synths and soaring, over-the-top vocals to great effect. Opening track ‘Live Those Days Tonight’ is the perfect soundtrack for a strobe-soaked dance floor as it pulses its way into your head and refuses to leave.

With 2012 in full swing, Reverb’s first issue of the year takes a look back at the best album releases of 2011. Bon Iver reigned supreme, The Black Keys produced a stunner as the year closed, and Australian artists feature prominently. So, the Christmas lights are back in the shed, and the empties are in the recycling bin — it’s time to reminisce on the soundtrack of 2011.

The Pains of Being Pure at Heart Belong

Belong is The Cure’s Head On The Door meets Smashing Pumpkin’s Mellon Collie And The Infinite Sadness – an ambitious and bombastic record that is unafraid to showcase a succession of delightful, uplifting, overwhelmingly clever pop hooks. Memo to Foals and The Drums: this is how it’s supposed to sound.

Noah and the Whale Last Night On Earth

Last Night on Earth combines masterful melodies with a distinct synth/piano element and a good dealing of anti-angst vocals fleshing out the sound. If this is what the last night on earth sounds like, it’ll be anything but dismal.

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magazine issue #066 — Jan–Feb 2012

Patrick Wolf Lupercalia

Wolf’s deep voice soars, beautifully aligned with the positive feel of the music, and in contrast to his previous album’s darker bent. ‘Together’ is a standout, with its glorious finale recalling Muse’s ‘Exogenesis’ symphony. A very accomplished album.

The Get Up Kids There are Rules

Their sound is more flexible than ever, navigating a dynamic spectrum. While the album has an angular indie spine, cuts like the ethereal ‘Rally ‘Round The Fool’ and the acute, minimalist lead single ‘Automatic’ demonstrate a sonic flexibility that the band hadn’t quite grasped at their peak of popularity a decade ago.

Twilight Singers Dynamite Steps

The album has a fluid feel - like a creek streaming between rocks with each song ebbing and flowing, gaining fast currents and then settling into slower, easier ones. Dynamite Steps is an album for anyone who loves good music.

J Mascis Several Shades of Why

A mostly acoustic album, Several Shades Of Why sounds a long way from the pioneering wall of sound that Mascis is so readily recognised for – but this allows the aural space necessary to infuse the album with the longing that is appropriate for its lyrical content.

In The Mountain, In the Cloud

Fear of change has been the failing of many promising bands. Portugal The Man is not one of them. In The Mountain, In the Cloud feels like the album they were searching for. Songwriting is concise; production is crystalline; and their pop sensibilities have been refined to the point of perfection. Unique yet accessible glampsych heaven.

M83 Hurry Up, We’re Dreaming

Anthony Gonzalez has widened his sights and sharpened his aim to produce a double album of 22 songs that are his most consistent in both execution and delivery. Gonzalez’ imagination runs wild on this collection of endless art-pop anthems effortlessly drawing pop hooks out of the ether.

Leader Cheetah Lotus Skies

Gillian Welch

REM

White Denim

Adelaide-based indie-rock quartet, Leader Cheetah, is an amazing band. The tracks ‘Crawling Up a Landslide’ and ‘Dark Stands Over’ are truly exceptional, with a sound similar to, and yet so different from, conventional Australian rock. This album is one of the finest and freshest local works this year.

Lykke Li Wounded Rhymes

Li’s hauntingly beautiful vocals are embedded gently into each of her compositions, with a focus on atmosphere and ambience. Wounded Rhymes leaves the listener with a quaint and almost euphoric feeling and is, without a doubt, one of the best recordings to be released this year.

Arctic Monkeys Suck It And See

While the Arctic Monkeys’ earlier albums contain snippets of club raves and brief flings, Suck it and See is more a collection of love songs, with Jamie Cook masterfully executing riffs of windswept pop-rock. None of the lyrics on this record are as straightforward as previous albums — provocative and sprinkled with a more charming punch.

Feist Metals

Metals is an album bursting with sombre, downbeat ballads relying heavily on gentle guitars and piano, deep tempo changes and Feist’s extraordinary melancholic vocal range. While the album is all the better for these foot-tapping shifts in style, it’s clear Metals is about deep longing and sorrow, no sequential numbers in sight.

Wild Flag Wild Flag

There is an overwhelming sense of unabashed joy on Wild Flag, that is infused into the listener. Sleater-Kinney fans will be over the moon with the result of Carrie Brownstein and Janet Weiss’s latest venture as they expand on 2005’s The Woods classic rock, taking a much loved legacy many steps forward. Find us on Facebook

The Harrow and the Harvest

Ryan Adams

Girls

Jay Z and Kanye West

With simply two acoustic guitars and two voices, Gillian Welsh and David Rawlings perform an understated dance of organic interplay, allowing the listener to be swept along with unexpected strength. One of the best albums of Americana in some time.

Collapse Into Now

2007’s Accelerate was heaped with critical praise as a return-to-form record, and the band have capitalised on all of its successes on 2011 follow-up Collapse Into Now. The record sounds big from the get-go, with frontman Michael Stipe rediscovering some of the biting cynicism that defined his early work.

White Denim’s D sounds like it was created in a haze of pot smoke and floating yellow submarines. It’s a testament to the band and their production team that this album not only sounds like it’s from the 60s, it sounds like it was actually recorded in the 60s. While D is a peyote-fuelled trip not to be messed with, ‘Street Joy’ is the soundtrack to the ultimate come-down. Soak it up.

Kimbra Vows

Vows is a bring-you-to-your-knees, angular romance, encompassed by tingling strings and harmonic idiosyncrasies. Kimbra’s songwriting, across the 11-track album, has an eloquent wit, dancing through the different aspects of lustrous love. Perfectly thought out and delivered. I’d settle down with this gal any day.

City and Colour Little Hell

In stripped-back tracks like ‘Northern Wind’ and ‘Silver and Gold’, Green’s voice is soft, captivating and, on the high notes, cuts through you in all the right ways. If you’re a fan of country-inspired sounds and somehow you’ve managed to miss the City and Colour bandwagon, now is the time to get on board.

Ashes and Fire

Ryan Adams might be a pretentious prat, but maybe you would be too if you had his talent. Skirting alt country pop, Ashes and Fire sees Adams stick to his familiar formula of husky-voiced ballads about lost love – he has a knack for writing songs that make you wish the one that got away didn’t slip through your fingers after all.

Father, Son, Holy Ghost

The King Is Dead

Boy And Bear

From the cruisy sentimentality of ‘Calamity Song’ to the homespun sing-along ‘Down by the Water,’ Colin Meloy’s wordy yet emotional vocals allow each little dreamscape to drift into your consciousness. This is earnest music played with wit and vigour – check it out.

Gotye Making Mirrors

It’s a fine wire that Wally De Backer walks with Gotye — taking what are essentially pop songs and reclothing them in sonic art. Immediately accessible and yet strangely intriguing, Making Mirrors provides the listener a firm foothold amongst the sonic playfulness.

Wilco have created an album that perfectly showcases their wide-ranging musical prowess. From the tinkling piano and synth undertones of ‘Sunloathe’, to the fingerpicked acoustic and steel-string guitars of ‘Black Moon’ and the honky-tonk vibe of ‘Capitol City’, Wilco manage to master every sound they put their hand to.

My Morning Jacket

Stacked up against their most recent efforts, Watch the Throne is a great album in danger of being relegated to an afterthought in the pair’s respective catalogues. Most impressively, there’s very little filler. As long as this pair is willing to take the time off from their tropical island vacations and front up to the studio, we should listen up, yo.

Decemberists

The Whole Love

With brushes of glam, prog, and even country rock, Girls have left Album’s 60s fixation and dived headlong into the decadent 70s to deliver an album that is fully formed, immediate and tangible. Touchstones abound, from Pink Floyd to David Bowie, yet the arrangements are thoroughly modern. This release is the making of them.

Watch The Throne

Wilco

Circuital

While Circuital sits closer to Z than the widely diverse Evil Urges, it is most definitely no rehash of old habits. Rather it is a refocusing, a redefining for their experimentation. They continue to take our musical touchstones and run them through the My Morning Jacket mixer to deliver modern interpretations with unexpected wit.

Moonfire

From opening track ‘Lordy May’, an ode to death and the afterlife, it’s clear this album is more mature than Boy & Bear’s last, while continuing to embody the cool, highland folk of previous releases. Densely layered with melody, Moonfire reveals more with every listen.

Radiohead The King Of Limbs

Just as a prodigal lover might, ‘Morning Mr Magpie’ and ‘Lotus Flower’ caressed me into submission. ‘Give up the Ghost’ further concreted this gorgeous release and in fleeting moments Thom Yorke’s breath passed through me, making the album almost tangible.

TV on the Radio Nine Types of Light

TV on the Radio has never really stood still, their releases are snapshots of their state of mind. Ten years into their career, relationships are pushed to the surface. The band has never been so open about intimacy, with Nine Types of Light aimed squarely at the heart. It is an album with which to curl up in the arms of your lover. In doing so, you will fall in love with TV on the Radio all over again. reverb magazine issue #066 — Jan–Feb 2012 15

The Jezabels Prisoner

Debut album Prisoner is an evocative gem, brimming with restrained, yearning anthems that reward repeat listening. From the anthemic hold of album highlight ‘Long Highway’ to the meditative album closer ‘Catch Me’ – each song holds you in its grip, a reminder of the energy and presence that The Jezabels wield. This is an album of a indie-pop perfection.

The Antlers Burst Apart

Still present are the trademark spaceless atmospherics on tracks like ‘No Windows’, ‘Tiptoe’ and ‘Corsica’. But it’s the up-tempo tracks where the band really begins to grow horns. A daring record; not to be ignored.

Fucked Up David Comes To Life

Fucked Up have been pushing the punk envelope for many years, and with David Comes To Life, they have achieved what few have before them — the punk concept album. Intensely dense, melody-laden guitar may tenderise you, but with so many hooks being thrown into the mix, the experience is immediately engaging. Do we need an 80 minute punk rock opera? Damn right.

St Vincent Strange Mercy

Refreshingly original and rather captivating, Annie Clark’s third release finds her spreading her wings to create a fascinating piece of work. Her genre-jumping may leave some listeners cold, but if you refrain from pre-empting where she is going and simply follow her along her path, the journey begins to make sense. Complex, unconventional and utterly appealing.

Tom Waits Bad As Me

The slush-throated king of experimental blues is indeed atop his game here — instrumentally and vocally. Waits pushes musical and narrative boundaries to capture a contemporary American landscape of corporate greed, mad war, and, of course, simple love. This is a breathtaking reminder of what the term ‘musical artist’ can mean.

Florence and the Machine Ceremonials

PJ Harvey Let England Shake

The element of darkness that pervades most of Harvey’s work is at the forefront again, this time in a more literal sense — the title track begins by referring to England as being ‘weighted down with silent dead’. What this work has in common with her past is the paradox that it doesn’t sound like any of her other albums. The woman that defies categorisation succeeds yet again.

Ceremonials is a beautiful sophomore album, accentuating the maturity and confidence the group has developed over the past two years. There are certainly less mainstream singles on Ceremonials than there were on Lungs. But their latest release has more musical integrity. A cohesive and enjoyable record.

Fleet Foxes Helplessness Blues

Smarter, darker and richer than its predecessor, this album expands on the signature Fleet Foxes sound in all the right places. While the lyrics play a huge part in telling the story, the blindingly brilliant musicianship and harmonies serve notice that not only do we have a great band on our hands, but maybe one of our generation’s finest.

Black Keys El Camino

The Black Keys have delivered an out-andout cracker. El Camino is far and away the Black Keys’ moment in the sun — a thoroughly enjoyable listen, top to bottom. El Camino sees Dan and Pat at the top of their game, and foot-stomping, overdriven blues/rock is all the better for it.

Bon Iver Bon Iver

Number 1

In an age where singles rule, it’s a rare album that feels organically complete, from start to finish. There is a natural flow to Bon Iver, each track sits comfortably with its predecessor. Supremely confident and masterfully constructed, Justin Vernon has delivered a heart-stirring album to rival Jeff Buckley’s Grace. Without a doubt, one of the best releases of the year.

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magazine issue #066 — Jan–Feb 2012

THE h-gang

Getting Your Natural High How have the Byron Bay venues and punters handled having a funk/soul band in their midst? People have responded very positively to our style and our live show. I think people love a good groove that they can move to and a chorus they can sing along too. Venues have been really good to us as well. What draws a group of young musos to this style of music? We all love music from the 60s and 70s because of the simplicity of the songs. Great songwriting, musicianship and grooves are some of the flavours that have drawn us to this style. I think it’s also the integrity in the songwriting that we are drawn to. The funk/soul sound will always be connected to its 60s and 70s glory days. Are you risking being labelled an ‘old school’ band? I guess you could say that. But we are more about taking influences from 60s and 70s funk and soul music and using that in a contemporary way. Much like Renee Geyer, Amy Winehouse, Norah Jones and Steely Dan have done throughout their careers. Twelve months after forming, the band are about to release their debut EP. Why the

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With barely 12 months under their belts, Byron Bay natives, The H Gang, are doing their best to change the town’s soundtrack from reggae and blues, to soul and funk. Having recently won the national campus band competition at Southern Cross University in Lismore, guitarist SHAUN ROBINSON spoke with KEVIN BULL as the band prepares to release (and tour) their debut EP, Natural Bridge.

need to have some physical product available? We were getting a lot of requests from fans at live shows for a CD to buy and we wanted to get our songs recorded so we decided to record The Natural Bridge. Where was the album recorded, and why? It was recorded by Anthony Lycenko at Rocking Horse Studios and overdubs were recorded at Nashua Road Studios by Les Doroughy and Jim Kelly. We won some recording time at Rocking Horse Studios so we started there. Anthony was absolutely awesome to work with and got a really good sound going for us. We then finished at Nashua Road to save some money and also have Jim help us finish the project.

Did the songs change much in the studio? The songs didn’t change much because we had played them live a heap and ironed out all the creases. Anthony did have some great suggestions for the song ‘Hello My Love’ and Jim helped us put on the finishing touches like vocal harmonies and some extra little sweeteners. What are your plans for 2012? We just want to get out and play as much as we can. We have a NSW east coast tour

coming up and then we want to try and hit some festivals as well as touring other areas of the country. We are also in the process of writing more songs. The H Gang perform at By The River, Ballina, on Sunday February 5; Rails, Byron Bay, on Thursday February 9; Lennox Point Hotel on Friday February 10; SCU Unibar, Lismore, on Thursday February 16; Port Macquarie Hotel on Friday February 17; Jewels Tavern, Newcastle, on Saturday February 18.

reverb magazine issue #066 — Jan–Feb 2012 17

co l i n h a y

In the wake of his father’s passing, legendary Australian singer-songwriter COLIN HAY has crafted a beautiful album in Gathering Mercury. MATT PETHERBRIDGE spoke with Hay about his latest offering, working with Scrubs star Zach Braff and not trying too hard to wrestle a song to the ground. The first single from Gathering Mercury, ‘Send Somebody’, was co-written with singer/songwriter, Michael Georgiades? How did the song come about? Mucking around on guitars - that’s what we tend to do a lot of the time. Michael’s been around since the 60s, making records. He made a record with Bernie Leadon from The Eagles (1977’s Natural Progressions). He’s my point of reference - he’s a terrific guy and he has a beautiful skill. He had this guitar figure, he played it for me and I started singing the chorus to ‘Send Somebody’ along with him. It seemed like a good idea for a song…

try to let the song speak, so to speak. It’s important to just let the song… become what it is — as opposed to trying to wrestle it to the ground, if that makes sense. But no matter how hard you try, sometimes you can’t turn an epic into a three-minute pop song or vice versa. If a song turns out very long, there’ll be a good reason for that. It probably can be three minutes… (laughs), but it’s an exciting process. ‘Gathering Mercury’ is a song I really tried to wrestle to the ground. I’ve had the music for that for the last couple of years. The lyrics came from a friend of mine who has actually died twice.

Mercury Rising thinking sometimes when your life is falling apart, you don’t realise it is… and when you call someone for something simple, you end up talking to a complete stranger about your life falling apart. Do you find songwriting a cathartic process? I don’t really think about it that way (laughs). Sometimes [I] start off with an idea and other times I feel particularly close to a subject… I don’t know. I always

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magazine issue #066 — Jan–Feb 2012

He was in a coma for a long time and he came back. He’s still with us and he told me his experience and it affected me so much that I put it into a song. Just before we mixed the record, I ended up re-recording it down the road from my place at (co-producer, engineer, mixer) Chad Fischer’s, with acoustic guitars and vocals and I just left it with him. I said to him, “You do what you want with it. I’ve tried doing everything with this”. And he

put all of that space into it. It’s one of my favourite songs on the record. You’ve worked closely with Zach Braff — firstly on the hit TV show Scrubs and then on the Grammy award-winning Garden State soundtrack, contributing ‘I Just Don’t Think I’ll Ever Get Over You’. Do you remember how you wrote that song? It was originally on my 1998 album Transcendental Highway. I wrote it at

home in Topanga. Originally it had more instruments on it and it wasn’t quite working. I was on the way down to this place to master the record, driving with a guy called Dave, and we thought we should have another crack at that song in the morning before we drove down — we did it in one hour. We did it really simple, just me and acoustic guitar, with a little bit of slide (guitar) on there. Zach Braff, I knew through Chad Fischer — we had a mutual friend, Cary Brothers, a singer/songwriter. He used to bring Zach down to my gigs, years before he starred in Scrubs. He had my albums and he was a fan of my music. I was talking to him at a party one night, where he told me he had just got the part in Scrubs and he was going to be a star. I wished him good luck and he said, “I’m going to try and get your songs played on the show”. He brought a guy called Bill Lawrence (creator of Scrubs) to my shows and he liked my music too. He told me, “we’ll use a bunch of your songs on the show and see if it makes a difference for you”. He specifically wrote an episode called ‘My Overkill’ — the first episode of the second season. And then that led on to Garden State. It was quite an organic way of meeting people and working. Colin Hay performs at Lizotte’s Kincumber on Tuesday February 7, and Lizotte’s Lambton on Wednesday February 8.

t h ee o h s e a s

a change in sight

THEE OH SEAS are one band mighty glad to see the back of 2011. While last year saw them bring out two highly-acclaimed albums, according to vocalist/keyboardist BRIGID DAWSON, the year was marked by tragedy and loss. By BIRDY. “I think you can hear a lot of that especially in Castlemania,” says Dawson of one of the band’s two latest albums. “I’d love to be able to say that it’s been a good year but there’s been too much sadness for everybody in the band. I feel like it’s been a good year in terms of putting out two good albums. In my opinion, we’ve been really productive on that front. We’ve also toured a whole bunch and we had the summer off just to have a bit of a rest. Apart from that, we’ve had a year in which we had at least a few people that we know pass away, so it’s never pleasant to have that kind of thing mark your year.” It’s in Castlemania where the darkness that marred 2011 for the band is most obvious, as Dawson agrees. “That was really more about John (Dwyer, vocals) sitting down and putting that together,” Dawson explains. “That’s probably the short answer to it, anyway. John basically came up with a bunch of songs and made all these home recordings which he took to the studio and spent some time layering them. He took quite a lot of time over that. I think the reason why Castlemania sounds a bit different to Carrion Crawler/The Dream is because the latter was done by the band in its entirety. It only took about four or five days as well, so it was a very quick process, as opposed to Castlemania. Castlemania is also darker because the people that we lost recently were very close friends of John’s — he really cared about them a lot, so it’s no wonder that you’re hearing a lot about death in there.” And while one album may be darker than the other, Dawson agrees that both have one thing in common – Thee Oh Seas are at their live rockin’ best. The live

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approach is becoming more and more popular among bands. But Dawson says for her band it’s not about following the trend. “I think it comes down to the cyclical nature of music — it’s been going on for decades,” she explains. “Right now, I think the live approach is really popular with bands because it’s easier — it’s much more natural. But it’s also something that’s come back again since the 90s and the whole garage rock thing. There was a backlash happening against the mainstream back then and I feel like the same thing is happening again. “Another thing is that the more simple and basic that you keep it, the better your music is going to sound. It’s never okay to over-do something, I don’t think audiences like that. Having an overcrowded record with 17 guitars on it is never going to sound great.” Besides, too many tricks in the studio can leave fans disappointed with a band’s live performance, says Dawson. “This has happened to me quite a few times, I have to admit,” she laughs. “I’ve gone to see a band I really love – well, a record of theirs that I really loved at the time. But seeing them live was almost like seeing a completely different band. I’m not going to name any names, but as a fan, I felt really ripped off. That’s something that I would never want to put our fans through. You’re pretty much tricking people into liking your music when you add things in the studio that you damn well know you won’t be able to replicate on stage.” Thee Oh Sees perform at Woody’s, Byron Bay, on Tuesday January 17, and Chino’s Bar, Newcastle, on Wednesday January 18.

reverb magazine issue #066 — Jan–Feb 2012 19

the stillsons

The Importance of Being Earnest Having been together for half a decade, it has taken the inclusion of The Waifs’ Ben Franz, and a more organic approach to the recording process, for THE STILLSONS to find their stride. With their recent sophomore release, Earnest, receiving universal praise from the industry and audiences alike, and a mammoth east coast tour underway, KEVIN BULL spoke with the band to unravel the making of this alt-country outfit. Your sophomore release, Earnest, has been available for a few months – has its reception met your hopes? Ben Franz [pedal steel]: More than what we’d hoped. We’ve had killer reviews in The Age, The Mag and Rhythms magazine. The reception has been overwhelmingly good. How do you measure the success of the release? Is it sales? Is it reviews? Is it the reaction of the punters at gigs? BF: In this day and age, you can’t really judge how your album has been received by sales, although for a low level indie band, the album has been selling well, and we’ve just received our first reprint. What you hope for is good reviews and lots of radio play, and so far we’ve been lucky enough on both of those fronts! You hope that a positive reaction to the album becomes more bums on seats. With two years since your debut release, Circus, where do you hear the biggest change in Earnest? Justin Bernasconi [guitar]: I think the music is more assured. With Circus, Cat (Canteri, drums) and I were shit-scared about the sound of the group, as many of the songs hadn’t ever been performed live. So we overloaded the songs with glockenspiels, oboes, accordion, etc. With Earnest, the songs were tried and tested throughout residencies around Melbourne. Ben suggested that we let the songs stand up for themselves, rather than burying them with our insecurities. Ben joined the band between the two releases. How has his inclusion influenced the band? JB: He’s made the band more country for sure. But what’s heaps of fun is that the songs are very eclectic, and Ben’s playing his second instrument (pedal steel), and so our sound evolves with every show. Probably another reason why our sets can stretch up to the three-hour mark. How do the songwriting dynamics work 20 reverb

magazine issue #066 — Jan–Feb 2012

between a guitarist and a drummer? Canteri: Justin and I generally write our songs in our own little dark corners of the universe then share them in the band room… although we have done a few co-writes of late: ‘Dish It Out’, about not getting along with your family, and ‘You Don’t Know What I Need’, about sexual dissatisfaction in relationships. It’s all really cheery stuff! Did you approach the Earnest recording process different to Circus? Cat Canteri: At the time of recording our first record, Circus, we didn’t have a fullfledged band to play live. It was basically Justin and myself, and we had different friends who would come and jam along at our gigs. Once in the studio we realised many of the arrangements and parts had to be re-written to make the song more concise. With Earnest, we were keen to record it ourselves again. Ben had his home studio back in Perth, so he flew over there and drove it back to Melbourne in his car. The recording lasted around nine months, and we had a few weeks to mix and master it with ARIA-winning Craig Pilkington at Audrey Studios. Apart from all the gigs you have coming up over the next few weeks, what are your plans for further into 2012? BF: We’ll head over to Perth in March. After that, we’ve about completed the touring cycle for this album, so I guess we’ll regroup and take stock. We’ve done precious few gigs in our home city of Melbourne lately, so maybe a few gigs that don’t involve driving hours and hours to get to! Maybe some more recording later in the year. We’ll see… The Stillsons perform at the Beach Hotel, Byron Bay, on Wednesday January 18; Rails, Byron Bay, on Thursday January 19; Pacific Hotel, Yamba, on Friday January 20; Port Macquarie Hotel on Friday January 27; Ocean View Hotel, Urunga, on Saturday January 28; Grand Junction Hotel, Maitland, on Sunday January 29. Follow us on Twitter

s tee l p a n t h er — s eet h er

It’s clear to most that STEEL PANTHER ain’t here to make a political statement or comment on society, as STIX ZADINIA points out to BIRDY… Known to his mother as Darren Leader, the drummer claims it’s fine with him if you don’t wanna party – just don’t rain on his parade, man. “To be completely honest with you, I don’t care if people think this band is a joke,” says Leader. “If it makes you laugh, that’s fine. People can call us whatever they want, but the fact of the matter is that we’re certainly not writing shit songs, because we wouldn’t be here right now [if we were]. As long as they’re affecting you in some way – whatever way – then we’re doing our job as a band. “We’re not here to end world hunger,

In Love With Steel we’re here to fucking rock you and make you smile. People have a hard time infusing laughter with rock because [they] think that unless it’s serious and angry, it’s not really rock music. Why? Because it doesn’t make you want to shoot yourself? Man, rock ‘n’ roll to us is all about a party, and if you don’t want to party, I’m not offended personally, but get out of my face and go hate stuff somewhere else.” If you’re not a Steel Panther fan, Leader reveals you’re in for some bad news, ‘cause this LA glam-metal bunch won’t rest until an ‘Earth Tour’ is done and dusted. In the

meantime, Australia is first on the list for the new year, thanks to the almighty metal fest that is Soundwave. “These days you can watch a concert on the internet half-way across the globe so it’s really made the world a smaller place,” says Leader. “But we want to play for real. I would like to think that one day we will end up playing Earth. Doing the ‘Earth Tour’. Sometimes it’s really hard to remember specific shows because when you’re playing gigs three to four nights a week, every year, it’s pretty crazy. There’s just too much greatness to single out any show. What’s

really cool is that with the Soundwave tour, so many of our friends will be there. System Of A Down, Slipknot, You Me At Six – this tour is going be like an insane asylum which is run by the inmates!” And talk about friends in high places — you can add the Foo Fighters, Gene Simmons of Kiss and Brian May of Queen to that list. At a recent award ceremony for UK magazine Classic Rock, Leader recalls hosting the prestigious event in the company of his peers and idols. “We were guest presenters, which was amazing! Just to be invited to present something like that

and to get to hang out with people you really admire is a very special thing. The best part was the amount of people we had coming up to us telling us they love our band. Gene Simmons I’ve known for a long time and he’s a fantastic guy. He brought us on stage and introduced us as ‘four beautiful ladies from Hollywood’. Brian May and his guitar tech ran up to us all freaking out going, ‘dude, I love your band!’. Brian May’s daughter was there too and she loves the band so she told dad all about it and said he needed to pay attention to us.” On Steel Panther’s latest album If You Really Really Love Me, that list of famous friends continues, including Chad Kroeger of Nickelback and even actor/comedian Dane Cook. And if you want to see real rock ‘n’ roll living, go to Kroeger’s house. Or make that palace. “It was so much fun making this album! I don’t mind saying that. I enjoy listening to this album myself — the riffs are fucking killer and the songs are the best we’ve ever written. We started out as a cover band, who would have known at the time that we had it in us? On the new album, we had Dane Cook in the studio and he’s such a cool guy. He was more than willing to be on it. He said ‘you guys just tell me what to do and I’ll do it!’. We just bullshitted and joked around the whole day, really. With Chad Kroeger, we went up to his house and hung out. The dude has an ice hockey rink in his house… it’s just insane! And yeah, he’s not a very eco-friendly guy!” Steel Panther perform at the Soundwave Festival, Brisbane, on Saturday February 25; Soundwave Festival, Sydney, on Sunday February 26; Enmore Theatre, Sydney, on Tuesday February 28.

We spoke when you were here last and you all seemed to be having a great time! What fond memories do you have from your last Aussie tour? Tons of memories, mostly involving a lot of VB! (laughs).

label kept pushing us saying they didn’t think it was ready yet. “Go back and write some more,” they said. ‘Tonight’ was probably the last song that we recorded and if not pushed then songs like that would have never have made it.

While we’re on the subject of touring, who’s given you the best advice and what was it? I’d have to say probably the best advice was right in the beginning when we came over to the States. One of the first bands we met was Drowning Pool, and I was speaking with the guitarist CJ (Pierce) – we’d become very close friends, and he said “hey man, welcome to the States, fasten your seatbelt”. I think that stands out in my mind. I don’t know if it was the best advice but it sure was true! I blinked and it’s 10 years down the line and I wonder where the last 10 years went.

When it came time to hit the studio did you walk in knowing exactly what you wanted to capture or did a lot of it happen spontaneously? Brendan is really hands-on, so before we even set foot in [the studio] to track the album, we did a lot of pre-production. We got the songs to their finished state in the rehearsal space. We worked on the songs as a band then said “hey Brendan what do you think of this?”. Brendan would give his two cents and we’d rehash the song over. Then we’d learn the song and run it a couple of times so we all knew it and then we’d go in and lay it down, which is quite an efficient way to do it.

Formed in South Africa in 1999 but with a decade in the US under their belts, post-grunge rockers SEETHER are just getting better and better! In a year filled with highs and lows, Seether released their fifth studio album, and soon after its release, guitarist Troy McLawhorn decided to leave the band to return to alternative rockers Evanescence. CAMERON EDNEY spoke to Seether bassist DALE STEWART about the band’s return to Australia, and their latest album Holding Onto Strings Better Left to Fray.

Holding On and Letting Go This is what happens with too much VB. [Laughs] Yeah, you lose big chunks of your life! Six months since the release of Holding Onto Strings Better Left to Fray, and looking back over the recording process, is there anything you would change? Find us on Facebook

No I don’t think so. (Producer) Brendan O’Brien… really had a lot of input on this album and I think he is a large part of its sound and its success. As a band we feel this is the best work that we’ve put out and we’re really proud of it. Tell us where you drew your inspiration

from when writing for the album? We don’t really set out with a specific goal or a sound in mind. We just get into a room together and start coming up with rough ideas - piecing ideas, riffs and melody together, and building songs. We went back and did that so many times on this album. It took almost a year to do and our

What do you feel has been the most important lesson you’ve learnt to date? I think one of the most important lessons in this kind of industry is to be careful who you trust! There are a lot of people that pretend to have your best interests at heart and pretend to be your friend but there’s an ulterior motive there - that’s a big one and I think a lot of young bands learn that the hard way. I think the industry is changing too quickly now and everyone’s just trying to keep head above water and see what’s going to happen. The changes in the music industry are coming so thick and fast now. Seether perform at the Metro Theatre, Sydney, on Sunday, February 5. reverb magazine issue #066 — Jan–Feb 2012 21

b a d re l i g i o n

Who You Gonna Call? Crossbusters From mosh pits in California to the halls of Cornell University — BAD RELIGION have changed lives. As one of the most celebrated punk-rock bands of all time, they have earned worldwide superstardom, whether sporting the famed Crossbuster band logo or not. MATT PETHERBRIDGE speaks with bassist JAY BENTLEY about the band’s legacy. What was the recording process like for your latest album, The Dissent of Man? We were doing a lot of things at once— playing a lot of shows. It was late hours and we were pretty strapped for time. It was really weird how things started to gel and coalesce into an album, and vastly different to past records where we had just gone into the studio and fired it out almost immediately. For me — I’m a fan of spontaneity. I believe if you over-rehearse a song, you can sometimes lose the original feeling — that spark. It can start to sound like you are mimicking your original interpretation of the song, without the same sense of urgency. I wouldn’t know what Brooks (Wackerman, drums) was playing on the record until I had sat down in the studio, which was nice. Did working in a non-linear fashion influence other things about your bass playing? [What] we’ve always felt about punk rock played at high volume and high tempo is [that] things go by so fast, you don’t really know if that chord was a G-sharp or an A-minor — it just happened to be a power chord that went flying by. Brett and I were discussing how to try and give our music a different dynamic. Normally, bass is the thing that goes after the drums, so everyone has a bass to lay tracks down on. Now, after the vocals are done, I come back and re-do the bass — with a different take on how the song works, to try and tie everything together. In your eyes, which Bad Religion album is the most misunderstood? To this day, I don’t know whether or not 1996’s The Gray Race got the recognition I thought it deserved. We left Epitaph — Brett (Gurewitz, guitar) was out of the band and people had their eyes set on scrutinising this record. But everything in my mind about the record was perfect. Ric Ocasek from The Cars produced the album and Greg (Graffin, vocals) wrote some phenomenally personal lyrics. But when it came out to little [or] no fanfare, I turned to Greg and said, “no matter what anyone else thinks, it’s a sleeper and it’s a great record”.

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magazine issue #066 — Jan–Feb 2012

I still believe it’s one of the greatest Bad Religion records. Has your opinion of the band’s muchmaligned venture into prog-rock — 1983’s Into The Unknown — changed over time? Um... no (laughs). Brett’s opinion has probably changed from the moment it was released until now (laughs). I’m sure he was thinking, “this is awesome!” during the making of it. Greg’s opinion has never changed because he stands behind the idea that they were 17-year-old kids doing what they wanted to do. Bad Religion’s catalogue without that album, conceptually, is really something special. But taking a tentative stab at something you’re a fan of — like prog rock... I mean, I’m a big fan of walking on the moon but they’re not going to let me just take off in a spaceship! (laughs) The internet punk rock community flamed wildly when news casually broke that you were collaborating with Lucinda Williams. Can you tell me about that? Recently we recorded a song for Chimes of Freedom: Songs of Bob Dylan Honouring 50 Years of Amnesty International. Someone put out a press release listing the artists with the songs they were doing but they mustn’t have known what song we were doing. So it read “Bad Religion, Lucinda Williams” and then it said the song she was doing, “‘Tryin’ to Get to Heaven’”. Because there was a comma between our names, people automatically assumed that we were working with her. You could see fans flaming all over the internet, in the little punk rock circles — “what the fuck are Bad Religion thinking, working with Lucinda Williams”. Sometimes people hear about something and they don’t want it to happen, they don’t even know why. Their first reaction is “fuck that!”. It’s weird. Bad Religion perform as part of Soundwave — RNA Showgrounds, Brisbane, on Saturday February 25, and Sydney Showground on Sunday February 26. Big Top Luna Park, Sydney, on Wednesday February 29.

p ort u g a l . t h e m a n

finalise and close down the final recording of the album. We got comfortable again in that environment and we ended up writing four more songs at Casey’s place. Casey, he works really well with us because we are kind of wild, artsy minds and he knows how to settle us down and grab that vision. He’s good. Andy Wallace is in there mixing the album this time round. What did he add to the Portugal. The Man sound? An amazing sense of depth and showcasing the album in terms of a stage presence. In terms of a headphones mix he really knows how to highlight things. I felt like he was working on a lighting board when I listened to the album. When there’s a killer bass section or drum part or a vocal lift, he really got the sense of that. So I felt that he was mixing engineer/lighting guy for the album. Once we heard the mix, we were like ‘woah, I can’t believe this’. I think that’s just what he does — he highlights parts and truly brings them in to something special.

It sounds like the recording process was a protracted experience, going into multiple studios while you were touring. Surely not the most ideal way to record an album? What ended up happening was we weren’t really getting the songs done and were over-thinking and stressing ourselves out because it was our first Atlantic release. Then all of a sudden we had tours to do, so we would try and do a week in Los Angeles, a week in San Diego — we ended up bouncing around a bit. At least during this time we got to sit on the songs and learn them live in the same process. Has it been a positive experience with a major label? It has, it’s been really helpful. We’ve been trying the DIY/indie band [thing] for years, and that’s all we did — tour really hard with hopes to get better live. But we wanted to expand the show with lights and production, so it came in handy — becoming family and friends with Atlantic. The band’s been quite prolific over the past five to six. You’ve put out an album

quite regularly — one each year. Considering the difficulty surrounding the recording of the new album did this impact on the band’s confidence? That’s the thing — every time we go into the studio, we usually go in there with one-minute long songs or 30-minute long demos, and we just kind of wing it in the studio. We don’t have material ready to go and just perform. It was [our] first time working with a couple of major producers as well. It kind of felt like too many cooks in the kitchen sometimes. It does shake your confidence. But once we got to play it live, that’s when we really got to open up the doors of the new material. You worked with producer Casey Bates for In The Mountain, In the Cloud, for the first time since albums one and two, back in 2006 and 2007. What made you decide to go back to him? Genuinely, honestly, we like to do our demo work with him. We find his studio to be comfortable to get things out in the beginning. After recording in all these other studios, we came back to Casey’s studio to

Boys to Man Nowadays, it is rare for a band to release an album every year. Portland’s PORTUGAL. THE MAN is such a band, although their latest release, In The Mountain, In the Cloud tested them. As drummer JASON SECHRIST tells KEVIN BULL, the pressure of their first release on a major had a lot to do with it.

Was using Andy Atlantic’s advice? I think we test mixed with a couple of people, but I do believe that Andy said he was a fan of the band and that he wouldn’t mind working with us. So at that point we got very excited and we asked what the possibilities were, since he had kind of an interest in it. I think he gave us a friendship deal or something like that because normally I think he is a pretty expensive guy. You’re heading to Australia for the first time for the Laneway festival. What are your thoughts on people on the other side of the world slipping In The Mountain In The Cloud into their CD players. I feel like one part of me wants to yell out ‘finally!’. Finally we are getting out there into a different world, and that’s cool, that’s a real wild frontier, so we’re all excited. Like we’ve done laps around Europe and the United States, more or less, so we are definitely excited to get down there and see what it’s all about. Portugal. The Man performs as part of the Laneway Festival, Sydney College of the Arts, on Sunday February 5. They also perform a headline show at the Metro Theatre, Sydney, on Tuesday February 7.

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m y c h em i c a l rom a n ce

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magazine issue #066 — Jan–Feb 2012

“We were betting the farm,” said Iero. “We had to make the choice — to release something we were not 100 per cent happy with or put it all on the line and make something that we really loved. We found freedom through fear. It could have gone either way. It could have gone the way it is now, something we are really proud of, or it could have been really horrible and we could have regretted it forever.” Iero described the making of Danger Days as consecutive “trials by fire”. The band used synthesisers more prominently on songs like ‘Planetary!GO’ and ‘Bulletproof Heart’, forcing Iero to approach recording guitar tracks differently. “We threw out the manual and approached the songs more innocently for instance, taking instruments that you

“ We were treading on ground we’d never tread on before. That was inspiring. the guys at Epiphone showed me the Wilshire — it had a sound I really wanted to chase after.” Iero can’t get enough of the Phant-omatic. It was one of his main guitars during the recording of Danger Days (the other was a Epiphone Casino) and it’s also his main live guitar. Despite the abundance of synthesisers and effects on stage, Iero keeps his signal chain plain and simple. He uses a Vox AC30 for his clean tones. “I

In the age of gritty reboots, MY CHEMICAL ROMANCE have taken the unusual step of taking themselves less seriously. After burning out the black-tangled, military band jacketed The Black Parade, it was time to rethink things. They had a plan — to record a raw punk record [a la The Stooges, with go-to producer Brendan O’Brien (Pearl Jam, AC/DC)], escape the emo tag and demand respect. MATT PETHERBRIDGE spoke to guitarist FRANK IERO about taking the more radical route with Danger Days: The True Lives of the Fabulous Killjoys. felt comfortable with and thinking about them in a different way. “For me, it was a constant learning curve, taking guitars out of their comfort zones [and] reapproaching the instrument. Making sounds with them that sounded nothing like guitar - approaching it like a percussive instrument or trying to replicate different synth sounds. I never really knew how it was going to turn out. We were treading on ground we’d never tread on before. That was inspiring.” Enter the wacky, graphic action heroes, The Fabulous Killjoys, traversing a postapocalyptic California circa 2019, fighting the evil corporation, Better Living Industry (aptly named BL/ind). While there’s no concept implicitly stated within the album’s music or lyrics, the characters and the setting have influenced the events of the band’s promotional music videos for singles ‘Na Na Na’ and ‘Sing’. A third video capping off the actions of The Killjoys, for single ‘The Only Hope For Me is You’, is yet to be released. And with kooky new characters come pseudonyms! Fun Ghoul is what they call Iero, but he insists it’s less wanky than you think. “The names we came up with for Danger Days weren’t really for the characters,” he laughs. “We were naming our guns. As a kid, there was this costume shop called the Fun Ghoul, it was where all my friends would go for Halloween. When we were talking about naming the guns, I had drawn the symbol that I wanted the gun to have, and the first thing that came to my mind was the Fun Ghoul logo.” Speaking of weapons, Iero worked closely with Epiphone to put together his very own signature model guitar — The Wilshire Phant-o-matic! It’s an amalgamation of the 60s Epiphone Wilshire guitar body, with the neck, headstock and pickups coming from the Les Paul Elitist. It also has a Tone-o-matic switch (hence Phant-o-matic) and a Momentary Kill switch, to kill the signal for dramatic purposes. “I was playing a Les Paul Elitist, but I wanted something that had that tone, that was a bit lighter. Once

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don’t really put much (effects) on that, it’s a great stand-alone tone. I don’t know if you could really beat that.” For distorted tones, he uses the guitar through an Orange Thunderbird 200 watt and 4x12 cab, overdriven with a Keeleymodded Boss Blues Driver BD-2 and of course, the Way Huge Swollen Pickle. “It can react as a Big Muff or it can get much smaller, doing slightly overdriven tones. I tell everyone about the Swollen Pickle, it’s a great pedal.” Australian fans have been looking forward to the band’s upcoming tour since they upped and cancelled their appearance at Soundwave 2010 — attributed in the press release to vocalist Gerard Way’s “severe vocal trauma”, but more likely to have been influenced by the making/re-making of Danger Days. However, Iero is excited for the Australasian Big Day Out tour — considering the last time MCR toured Australia — he had a one way ticket in the opposite direction, thanks to a midair sinus explosion! “What happened was... we were touring Japan and then Australia, it was the last time that we had done the Big Day Out tour. I had gotten my wisdom teeth taken out before the Japanese tour started and I was told they’d be fine. On the trip over to Japan, it was rough man. It didn’t heal correctly and my sinuses kinda exploded,” he laughs. “I got a massive infection and when I arrived in Japan, I went straight to the hospital and then a couple of hours later, I had to fly back to New York. After that, I was grounded. I couldn’t fly for two months. Not only that but also getting back on a plane again to go home and worrying that it could happen again. It was pretty brutal hearing the doctor say, “You can’t do this tour, because your head exploded...” My Chemical Romance perform as part of the Big Day Out festival – Gold Coast Parklands on Sunday January 22, and Sydney Showground on Thursday January 26. They also perform at the Hordern Pavilion, Sydney, on Friday January 27.

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photo by kevin bull

co a l c h a m b er

Back to Loco Fronted by DEZ FAFARA, one of metal’s finest vocalists, COAL CHAMBER formed in 1993 and were one of hardest, darkest bands to come out of the nu-metal genre, both in image and their music. The band released three studio albums and toured extensively, but tension between members led to their demise, in 2002. In February, Coal Chamber will play their first shows together in 10 years, right here in Australia. CAMERON EDNEY spoke with Fafara as he prepared to join the Soundwave juggernaut.

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How has the response been from the fans since you first announced the reunion? Unbelievable, man. My phone started ringing at four in the morning and hasn’t stopped this whole time. It’s incredible… I’m really pleased to see the positive reaction coming back — it’s all positive!

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magazine issue #066 — Jan–Feb 2012

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When did you start to seriously discuss doing these shows? Well, the [former members of Coal Chamber] have been coming around for the past four or five years and hanging around with the Devildriver guys. Meegs (Miguel Rascón, guitar) came on stage in 2009 and did ‘Loco’ with Devildriver, and I think after that show we saw the reaction from the crowd and we started talking. It took two years for us to actually get together. I wanted to make sure that they were well aware of what we were going to be doing — that they were ready for it. Sooner or later you just get to a point where you miss those songs… you miss playing together onstage. Well, let’s go do some shows! Some fans may not be aware that the entire original band isn’t on board for the reunion. Rayna (Foss) won’t be joining you guys for these shows. Who is picking up bass duties? Well, Rayna left a long time ago, then we had Nadja (Peulen) fill in just for a few tours. Now we’re using Chela (Harper). She’s from Canada and she’s been playing for about 15 years. She’s an amazing, bad-arse bass player. Having

never had Coal Chamber play in Australia, this will no doubt be very special. What can we expect from these shows? You’re gonna get pure energy man — Coal Chamber giving you 100 per cent pure energy! Coming to do these shows with guys that are off hard drugs, back on track and ready to go and play music — that’s the greatest thing about it. We’re putting together a set list from the first three records and it’s going to be an energetic set. People are going to get a lot of music out of us. We’re very much looking forward to doing it. Considering you have spent the past 10 years building up Devildriver as one of the world’s leading heavy metal acts, how did those guys take the news of reuniting for these Coal Chamber shows? I think they probably saw it coming — every time they are in LA they hang out with the Coal Chamber guys. I get calls where the Devildriver and Coal Chamber guys are all hanging out at a club together in LA, while I’m at home with my wife, so they all know each other. Right now it’s all about the music, I think they’re happy for me and that I’m going to go do these shows and that it’s come full circle. It all ended so horribly that it’s good to be able to bring it back. Either way, if it’s a new beginning or a new ending, just to go out and do it proper and do it for the fans down under! Is it safe to say this is the start of more future shows with Coal Chamber? We’re only talking about Soundwave right now. We’ve already got the whole world offering tours as well as four record deals. We’re just not thinking about any of it; talking about any of it. We just want to go do these shows, have it be fun, play music and have a good time and then after that we’ll discuss things. Coal Chamber perform as part of Soundwave – RNA Showgrounds, Brisbane, on Saturday February 25; and at the Sydney Showground on Sunday February 26. They also perform at the Enmore Theatre, Sydney, on Wednesday January 29. Follow us on Twitter

t h e s te p k i d s

Raising Stepkids “Today has been a good day,” chortles JEFF GITELMAN, singer and songwriter of new-wave neo-soul trio THE STEPKIDS, from his home in the US. Given Gitelman’s chuffed, surfy guffaw and his reputation for being a bit of a dude, one would be forgiven for assuming that he has woken up with the kind of gnarly bed-hed that is bound to put any indie kid in a good mood. Maybe he found a rad woollen sweater in a second-hand store this morning, or maybe his home composting system has finally started to take shape. As MAX QUINN discovers, maybe it’s the full trifecta. “We had one of our favourite artists say a lot of nice things about us today,” says Gitelman. “Are you familiar with Tyler, The Creator?” Say what? For the uninitiated, Tyler, The Creator is the face of the emerging underground hip-hop scene in America, and the leader of a skate-rat rap posse known as Odd Future Wolf Gang Kill Them All. Yep – for those of you playing at home, this is the very same Odd Future who were booted off the Big Day Out line-up in New Zealand because of widespread concern about the allegedly homophobic content of their lyrics, and whose producer, Left Brain, has just been charged with assault for slapping a female photographer during an October photoshoot. Charming. Potentially, Tyler is the biggest emerging face in hip-hop today, and according to a recent article in SPIN magazine, he can’t get enough of the psychedelic, soul/jazz gumbo that is The Stepkids’ self titled debut. Say what? On what planet do a trio of very white indie kids have any business Find us on Facebook

with the centrifugal force of hip-hop’s underground? Apparently this one. “It’s an interesting scene, man,” Gitelman postulates when questioned about his involvement in the US hip-hop scene. “I went to school for the guitar, and I was very proficient playing jazz and hip-hop and soul. At the time, there weren’t many guitar players around who were into rock and jazz and funk, so when I got out, I got a gig as [R&B soulstress] Lauryn Hill’s touring guitarist.” It was a path that led Gitelman through the various caverns of hip-hop in the 21st century. Alongside working with Hill, Gitelman has toured with multi-platinum seller Alicia Keys and the acclaimed PIMP, not to mention Curtis ‘Fiddy Cent’ Jackson. It was a learning curve that the long-haired psychedelic recalls with a somewhat sombre tone. “I really admired a lot of the artists that I played with, and it was such a prosperous time for me as a guitar player. But, as much as I loved playing guitar and being an

instrumentalist, [I was] at the bottom of the totem pole in certain camps. Sometimes, in those camps, the sound guy was treated better than [I was]. It was very revealing – and it’s why everything felt so good with The Stepkids. Because it’s different, and liberal, and everybody has equal input.” The Stepkids are comprised of Gitelman and fellow singer/songwriters Dan Edinburg and Tim Walsh, each of whom brings their own spectrum of influences to the table. “Dan was in the punk scene [before joining] and Tim has always been into everything,” says Gitelman. “It’s the reason that our record sounds so different. I was in a soul band and excited to play punk, and Dan was in a punk band and excited to play soul. A lot of our music is a hybrid of our influences.” He’s right. The record is a musical pastiche in the truest sense. Listening through, you can spot the influences a mile away – Fleetwood Mac here, MGMT there. Yet, despite wearing its influences on its sleeve, The Stepkids debut still feels like an original record from an original band. “The question we really asked ourselves when we were writing and recording was the Marcel Duchamp thing,” says Gitelman. “Did you create it, or did you discover it?” Well? Did you create it, or did you discover it, Mr. Gitelman? “I side with Bill Cosby. He said he never created anything – he just discovered it – and I’m in no position to disagree with him.” The Stepkids perform at Hyde Park Barracks Museum on Friday January 27 as part of the Sydney Festival. reverb magazine issue #066 — Jan–Feb 2012 27

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magazine issue #066 — Jan–Feb 2012

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b et h orto n

Stranger in our Midst It’s been five years since we last saw Beth Orton in Australia, and six since she released her enchanting album, Comfort of Strangers, back in 2006. Since then, Orton has become a mother without forsaking her music career. Quite the contrary, Orton will journey back to Australia to give us the first taste of some of her brand new material set for release in 2012. By Birdy. “I haven’t had the chance to do very many tours, obviously, ever since I started having children,” Orton says of her son and daughter. “So this is very exciting for me. You guys will be some of the first people to hear the new material because, apart from small gigs here and there on occasion, I haven’t really had a chance to showcase the songs. I trust Australians, as well. I think you guys have very good music taste, so if you say it’s good, I’ll take your word for it! You can be my guinea pigs.” Better news couldn’t come to Orton’s diehard Australian fan-base, considering that for so long it almost appeared the UK folktronica queen was done with music. “I was playing gigs here and there, only nothing extravagant,” insists Orton. “I would do bits and bobs… when I would have the time and the energy. It was always just really small, intimate sets, nothing like what I’d grown accustomed to during my touring years. But by no means did I just give up on music. If anything, I managed to find more time to work on music than I ever had when I was actively touring around the world and making records. The hardest part has probably been trying to find a secret spot — somewhere isolated away from everybody — a special room somewhere in the house, so that I could work on my songwriting. But as far as the creativity aspect is concerned, I’ve never felt more creative. Not being on tour gives you so much more time to actually write, and write good stuff. You’re not rushed; you’ve got your head screwed on right; the opportunity is there. I’m not just talking about hiding away and writing the soft, quieter songs. Some of the loudest songs that I’ve come up with have been created since I’ve had my children!” Motherhood may have proven inspirational to Orton when it comes to her songwriting, but it’s also made her reassess things. However Comfort Of Strangers remains one of her favourite records from her own back-catalogue. “I keep getting asked lately about how much my musical direction has changed since my last album,” Orton states. “And it’s not so much that I’ve moved in a different direction — not as in moved into a completely new area of music. It’s been more about diving deeper into where I left off last with Comfort Of Strangers. Not replicating it but more looking at that record and finding what I loved about it the most and expanding on that and going deeper. It’s interesting that electro fusion has become really popular now, which is something that I don’t intend to go back to and it’s actually something that I stopped doing with my last album. I much prefer spending hours listening to Gillian Welch and artists like that, that’s much closer to my heart and much closer musically to what I am doing right now.” Beth Orton performs at the City Recital Hall, Sydney, on January 17-18. Find us on Facebook

reverb magazine issue #066 — Jan–Feb 2012 29

g e n er a l motor i n g

Pole Dancer r e vi e wed

Volvo S60 Polestar r e vi e wed by

Peter Douglas

t must have been a bitter pill for the dude in the Ford FPV GTP… to be comprehensively hosed off in a traffic light derby by a Volvo. This penis-shrinking exercise was thanks to Volvo’s new S60 Polestar special, a locally fettled fast car built from the already quick S60 T6. The boss at Volvo Australia, Matt Braid, wants Volvo to be seen in a new light and to attract a new, younger clientele. He’s getting the right cars to achieve this — XC60, C30 and S60, crowned by the Polestar.

NAME

It’s a funny name — pole dancer, pole cat, Polar Express, Polestar but you won’t forget it in a hurry. Polestar, the company, actually has a long history with Volvo’s motorsports arm, contributing components and advice over decades, with plenty of success in between. Matt Braid commissioned Polestar to make this S60 hot-rod based on customer feedback. It is essentially a toe-in-the-water exercise for the parent company to potentially do the same with the S60 and other models in the range. Only 50 will be made, at Volvo Australia’s head office in North Ryde, Sydney. It’s a bit like AMG’s role at Mercedes-Benz where they make (performance) cars or fit special options to customer’s cars.

WHAT YOU GET

The S60 Polestar ‘pack’ comprises your

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magazine issue #066 — Jan–Feb 2012

standard S60 T6 fitted with a set of striking 19-inch Heico alloy wheels with ultra-low profile rubber; a Heico twin exhaust with quad outlets; a new engine control chip; and lowered, firmer suspension. The rear diffuser is different and there are other minor tweaks here and there but it’s essentially a souped up S60 T6. The Polestar pack adds a sizeable $10,000 to the T6 price, retailing at $82,990. Still, that’s a bargain when you compare it to a BMW M3 or a Benz C63 AMG, both of which would put the Polestar in its place — but not by too much. They also cost twice as much and both have V8 engines. Matt Braid says these two shouldn’t be seen as competitors for the Polestar, which is more of a grand touring fast car than a sports sedan/coupé. “Our car is more for everyday use and that’s reflected in how it drives and feels. It’s not a track day car but can be driven day in, day out, in the suburbs and then provide an enthusiastic drive experience on the open road,” Braid said.

UNDER THE BONNET

The Polestar runs a 3.0-litre straight six with variable valve timing and turbocharging. It’s good for 242kW and 480Nm output. Matt Braid’s Polestar actually puts 500Nm to the wheels. The drive system is to all wheels and a six speed Japanese Aisin automatic transmission. Fuel economy rates the same as the standard T6 at 10.2 litres/ 100km of premium.

INSIDE

Inside is standard T6 but that’s no burden as it comprises comfortable sports leather seats, a multi-function wheel, premium audio, satnav, trip computer and full

“ The Polestar was in its element – blasting from corner to corner and ripping through them with all four wheels hooked up”

connectivity. It’s all in subdued tones of leather but the ‘floating’ centre stack remains. Safety systems are numerous and include Volvo’s City Safety system to help prevent rear-enders.

THE DRIVE

Now, let’s cut to the drive of which we partook generously with more than 300km of city and country roads including a blast up the Putty Road on a Thursday morning with nobody around. What a hoot, there weren’t even any semis and the cops must have been on a coffee break. First of all, the Polestar is more your mid-range grunt-mobile with all that torque delivered from around 2000rpm up to a shade over 5000rpm. This is where all the action happens and let me tell you — it’s strong. Overtaking happens in a blink as those 480Nms surge into action. Mid-speed acceleration times are stunningly quick. But that’s wanted when overtaking, right? It’s pretty quick off the mark, too. From the feel of it, and given the fact that the Polestar buttons off after around 6000rpm, we reckon a low 5.0 second bracket 0-100kph time is achievable. It sounds raunchy, too, with a wild beast wail burbling from the sweet singing six pot. We found the suspension liveable for everyday use but two modes, comfort and sports, would be better. We found the lack

of steering wheel paddle shift a major oversight especially when punting hard and changing often. As it stands, the sequential stick shift means you have to take your left hand off the wheel all the time — a pain in the arse. But you can get going real hot simply by leaving the tranny in ‘D’ rather than Sport mode. In ‘D’ it runs through the gears better and holds gears longer using the engine’s torque to pull you through. We really like the well-weighted, responsive steering that allows you to place the car precisely where you want it and the brakes are up to the task, too. In point and squirt driving — along sections of the Putty Road, the Polestar was in its element, blasting from corner to corner and ripping through them with all four wheels hooked up. It has a relatively neutral attitude that ultimately leads to understeer — like most all-wheel drives.

THE WASH UP

The relatively heavy Polestar makes light work of sporty driving and delivers spades of enjoyment to enthusiast drivers. We even like the looks — certainly one of the more appealing styles around at the moment. In practical terms, there’s seats for four, five at a pinch, a large boot and the practicality of a four-door sedan. It has plenty of kit and is one of the safest cars on the road. Can’t argue with that.

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Steve Burrito’s crunchy fortunes Gemini: What would happen if you hired two private detectives to follow each other? If you have balls, you’ll get them stuck in the X-box. If you don’t, you won’t. Your lucky appliance this month will be the blender. Wear protection.

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Pisces: Someone close to you will get a tattoo on their chest of an eagle with a giant penis, and an eye that follows you around the room. This will leave you as easy pickings for the monkey you got drunk with this morning. Your lucky sensation is yummy.

Cancer: Your left nipple is bigger than your other two. Your pigeon hole will soon be filled with pigeon, And some sort of caterer rang: apparently you’ve ordered a turkey slap, a tea bag and a spit roast. You’re going to be full after all that. High five.

Scorpio: You have a massive face hole, but it’s a great place to keep stuff. Hey what’s that thing behind you? It’s your birthday. Well maybe it isn’t, but who cares? If anyone asks, you ordered the meat beard. You’re lucky flavour is pizza box.

Aries: For some reason, this month you’ll ride a motorcycle up a ladder. At the top you’ll realise that you haven’t quite thought this through. Somebody you know will also be accused of receiving swollen goods. I suspect you had something to do with that.

Leo: Your fingers smell fishy. Have you been touching Tony Abbot again? You do know that the dullness rubs off don’t you? You will soon start using auto correct when you talk. That explains the American accent and the fact that you make no sense at all.

Sagittarius: Some time this month a clown will explode in your toilet. Stop laughing, it’s not funny. Change your luck, climb into the fridge naked. It probably won’t help, but at least now there’s something in the fridge. Wear more pants.

Taurus: If your dinner starts having sex on your head, order another dish. Your favourite flavour this month will be belly button, but it smells a lot like teen spirit. Your lucky sandwich spread will be lard. Rub it on, baby.

Virgo: The mining industry rang. They said they want to dig up your backyard, make millions of bucks, leave the mess with you. I said you love the idea as long as they make some nice shiny propaganda for your TV. Your lucky flavour is gullible.

Capricorn: To impress a potential lover, try dressing as Batman, climbing on top of the wardrobe and smearing your genitals with garlic butter. It won’t work at all, but we’ll find it funny. Try harder.

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MUSIC DVDs of 2011

r e vi e wed

Placebo: We Come In Pieces r e vi e wed by

Kevin Bull r ated

3.5/5

The Bridge School Concerts – 25th Anniversary Edition r e vi e wed by

Kevin Bull r ated

4/5

Recorded at the Brixton Academy, London, We Come In Pieces is Placebo’s second live DVD. The main feature, Battle for Brixton, covers 20 songs, 15 of which have never been seen on DVD. Audio quality is as expected — top notch, so the worth of this release comes down to the visuals (it is a DVD after all). Multiple camera angles, grainy, gritty and out of focus, mixed with close head shots, wide angle stage and audience imagery — you definitely get an ‘in the crowd’ feel. Six bonus tracks are included from Europe, South America and Asia dates, all offering a different visual experience to the Brixton show. The two-disc deluxe and blu-ray editions include a documentary on the band’s 2009-10 Battle for the Sun tour. We Come In Pieces is visually lush and arty, and if this is how you prefer to take in your lounge chair DVD viewing, it is well worth the send.

r e vi e wed

The Rolling Stones: Some Girls – Live in Texas ’78 r e vi e wed by

Kevin Bull r ated

3.5/5 Following on from the mighty fine Ladies and Gentlemen 1972 concert release of last year, we move forward six years to Some Girls: Live in Texas ’78, an arena show, with minimal staging. The Some Girls album had just been released, their best collection since 1972’s Exile on Main Street, and the Stones attacked America with a raw, stripped-back tour. The Some Girls album features heavily in the 17-song set-list, which can’t be a bad thing – ‘Miss You’, ‘Shattered’, ‘’Beast of Burden’... what’s not to like? Add to that classics like ‘Jumpin’ Jack Flash’, ‘Brown Sugar’ and ‘Honky Tonk Women’ and you have a night to remember. Originally shot on 16mm film, it has been restored and the sound remixed and remastered. Visually it still feels slightly dated, but Keef looks majestically dishevelled in red silk and silver choker, and Mick is hilarious in black vinyl pants that he splits the arse out of by the fourth song. Not as essential as Ladies and Gentlemen, but Some Girls: Live in Texas ’78 is a pleasant addition to any music DVD collection.

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magazine issue #066 — Jan–Feb 2012

Essentially a triple DVD compilation/documentary set, featuring performances across the Bridge School concert’s long history, the primarily acoustic cuts range from stunning and essential to ‘you must be kidding’ (I’m pointing at you, Billy Idol). The concert DVDs open with Bruce Springsteen, a stunning solo acoustic performance of ‘Born in the USA’ taken from the first Bridge concert in 1986. With all tracks only available on this DVD and accompanying CD set, this performance alone makes it worthy of handing over the cash. There are 25 artists covered, including Pearl Jam, David Bowie, Bob Dylan, Brian Wilson, Elton John and, of course, the event organiser Neil Young. The visuals are very simple but no less engaging, making this DVD a must-own.

r e vi e wed

Slash: Made in Stoke – 24/7/11 r e vi e wed by

Kevin Bull r ated

3.5/5

As a non-singing guitarist, Slash is a rare breed whose reputation and name can carry his CDs and live performances. That said, Alter Bridge vocalist Miles Kennedy has always featured prominently and rightly so. He has a fine voice as Made In Stoke exemplifies. Filmed at the Victoria Hall, in Slash’s home town of Stoke on Trent, this is a straightforward multi-camera shoot that is perfect for lounge room viewing — no arty shit in here. The set list covers Slash’s self-titled debut, as well as Slash’s Snakepit, Velvet Revolver and Guns N’ Roses cuts, on which Kennedy executes the Axl Rose wail with ease. Bonus features are rather slim, consisting of interviews with Slash, Kennedy and Slash’s Uncle Ian. Made In Stoke is a no-bullshit rock performance that transfers wonderfully to DVD.

r e vi e wed

r e vi e wed by

r ated

Paul McCartney: The Love We Make Kevin Bull 4/5

The Love We Make is much more than a benefit concert. This is a personal insight into New York City postSeptember 11, through the eyes of Paul McCartney. Over the course of two hours, we follow McCartney through rehearsals, promo interviews, and his interactions with New Yorkers on the city streets leading up to the landmark concert. Sure there are performances from the concert itself, but The Love We Make is an intimate portrait of one of the world’s most famous people as he travels a city where everybody wants a piece of him. He lives in a bubble, which is understandable, and no less fascinating to watch. The Love We Make is a fine documentary that never travels too far from its true purpose - to honour the fire fighters, rescue workers, police officers and families of those who perished in the World Trade Centre collapse.

Short Stack: The Story of Short Stack Kevin Bull 1/5

Opening credit… “This feature was entirely created by Short Stack”… and yes, it shows. Made from handheld home video and talking head interviews, it comes across as a very low budget production (and most probably is). But this is a point they push heavily — just how cheap and down-to-earth can you get? Totally childish at times (“a day in the life of my penis”), there is a fair bit of nudity although everything is pixelated to keep the 15-plus rating. The DVD is aimed directly at their fans who will lap this up, despite the lack of anything remotely enlightening. Bonus features are simply a ton of videos, which Short Stack fans will already have on their ipods. At 60 minutes long, this should have been dropped on Youtube rather than asking fans to shell out. Opening voiceover... “We created something that was never in this country ever before”... I think the jury is out on that one.

album Reviews album of the month

Tim Stokes

the Cure

Independent

Shock

El Camino

Universal

3/5

4/5

Nonesuch

4/5

Mexico

Tim Stokes is an independent singersongwriter based in Byron Bay. Mexico, his first studio album, is an earthy blend of upbeat acoustic rock injected with folk, roots and country influences. Some serious topics are touched on lyrically but overall Mexico sounds laid-back and summery with an uplifting vibe. The songs are complimented by natural, organic production and tightly bound by efficient songwriting. Stokes and his band never let their accomplished instrumental chops interfere with the structure or flow of the feel-good tunes. ‘Ride On’ is the catchiest track on the album; a funky acoustic foundation layered beneath the smooth vocals of Stokes, with an infectious hook. The instrumental ‘St Albans’ contains a strong hippie-jam vibe, reminiscent of Stokes’ Byron Bay roots. There is nothing mind-blowing on Mexico but it is a consistently solid offering with nice acoustic guitar work and memorable songs. Tim Stokes is clearly a talented singersongwriter who plays his music with passion, heart and soul. ~Luke Saunders

Faker

Get Loved EMI

2/5

After a successful track record of singles, there’s little on Faker’s new album Get Loved that stands out. A letter from band member Nathan Hudson, that accompanied the online release of the Sydney band’s third album, announced the band’s decision to give the tracks away for free — “you love something, you set it free right?”. After listening for myself I thought the real reason was that no one would want to buy it. Listening to Get Loved is at times as confusing as watching the foreign news. ‘Hearts To Break’ was like listening to The Cure and ‘Back When Solvents’ made me wonder what on earth (or, indeed, if) they were thinking. There may be some tracks that could be considered music, but as a whole the album is so disjointed it just doesn’t work. ~Eliza Church

Buick 6

Costa Mesa Sun Independent

4/5

Brisbane indie-rockers Buick Six introduce a compelling and polished third EP — Costa Mesa Sun — whisking the listener away to Californian sunsets and endless beaches. Mellow bassheavy pieces, simple guitar and hypnotising lead vocals are soothing with reflective ambience, touching on psychedelia, with the use of delayed effects and layered sounds. Euphoric opener ‘Lights (Are A Hoax)’ is a solemn drowsy number filled with ‘oohs’ and ‘whoas’, while the laid back ‘Sooner or Later’ showcases some interesting chord progressions. Costa Mesa Sun can seem droney in parts, but if you’re in the right mood, it will take you into its beautiful slumber. ~Charli Hutchison

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The Black Keys

Bestival Live 2011

Not just a pleasant reminder of the absolute musical significance and aptitude of The Cure, the Bestival Live 2011 album proves their continuing relevance. Forty years since they first began producing music that would become a huge influence on future generations of musicians, The Cure’s sound remains timeless. This live album deserves a listen simply for the pleasure of nostalgia — to hear Smith’s improvisations (and same sombre British accent) with the spirited crowd singing along. With a huge 32-track playlist, Bestival features classic Cure and a few pleasant surprises. As a fan not lucky enough to have witnessed their original glory, this album is a precious insight into the history of a legendary band. ~Emily Cones-Browne

4.5/5

There are essentially two schools of thought when it comes to two-man-bands from the 21st century. The governing principle is what I like to refer to as the Michael Jackson paradox: does it matter if you are Black (The Black Keys) or White (The White Stripes)? While the brother/sister (wife? mother?) pairing spent a well-deserved portion of the early noughties in rock music’s limelight (thanks to a couple of glorious Jack White guitar riffs), I personally like my southern rock loud, and my record collection free of weird, hypothetical incest. Thankfully, The Black Keys have delivered a record that is both an out-and-out cracker and 100 per cent free of sibling sexual tension. El Camino is far and away the Black Keys’ moment in the sun — a thorough, top-to-bottom listen to rival anything The White Stripes ever accomplished. While Jack and Meg have dissolved into their own weirdness, El Camino sees Dan and Pat at the top of their game, and footstompy, overdriven blues-rock is all the better for it. ~Max Quinn

the Last Kinection Next of Kin Elefant Tracks

3/5

‘The biggest employer of aboriginal people in this country is the government’. Siblings Weno and Nay, together with lifelong friend DJ Jaytee, are The Last Kinection — using their lyrics and melodic hip-hop to raise genuine political and social issues surrounding today’s indigenous culture. Channelling their ancestral backgrounds, the trio use heritage language throughout their album, Next of Kin, keeping the ‘kinection’ alive with their people — the Kabbi Kabbi of south east Queensland. ‘Ngai Wudhim Marigurim Ngai Yirinbu’ (‘I am afraid but I’m still strong’) is one of many phrases used in this purposeful rap/ hip-hop compilation, which makes use of an assortment of well-blended instrumentals. Delivering encouraging messages, The Last Kinection have produced a poignant album with a point-blank directive — a genuine wake up call for individuals exploiting today’s assistance programs. ~Mel Roach

Snow Patrol Fallen Empires Universal

2.5/5

Fallen Empires is the sixth album from Irish pop-rockers Snow Patrol, and perhaps their most confusing release to date. While the songs themselves aren’t bad, they leap in genre from stadium anthems to innocent little acoustic songs, with little common ground. As a result, the album sounds more like a compilation than a cohesive album. ‘This Isn’t Everything You Are’ and ‘Fallen Empires’ definitely outshine the rest of the album, but aren’t enough to get overly excited about. Fallen Empires isn’t a terrible release, it’s more of a placeholder within their catalogue, in comparison to Snow Patrol’s previous successes. For fans of: Keane, Travis, Coldplay. ~Josh Clements

The Big Pink Future This 4AD

2.5/5

The Big Pink caused quite a stir with their debut album A Brief History of Love in 2009, spawning the hits ‘Dominos’ and ‘Velvet’. The London duo tread a similar path on their anticipated sophomore album Future This, combining modern production gloss with pop sensibilities, 80s electro and indie rock. The formula remains intact — the electronic textures, drum loops, guitars and synths forming swirling soundscapes, wrapped in a futuristic pop sheen, while retaining their retro vibe. Unfortunately, Future This is marred by some mediocre songwriting and lack of adventure that affects the quality and consistency of the album. The hooks are present but too often they straddle the line between catchy and irritating, particularly on the repetitive ‘Rubbernecking’ and ‘77’. Elsewhere, the songwriting and arrangements are more successful. ‘Lose Your Mind’ benefits from an expansive sound, brisker pace and less predictable structures and vocal patterns. ‘Stay Gold’ and ‘Give It Up’ are potential hits — the former, bright and shiny electro-pop; the latter, darkly atmospheric, featuring a memorable chorus and interesting samples. The Big Pink has created a safe sophomore album — harmless fun with scattered bright spots, but ultimately underwhelming. ~Luke Saunders

Chris Cornell Songbook

As frontman for megagroups Soundgarden, Temple of the Dog and Audioslave, Chris Cornell walks the hallowed halls of heavy rock stardom with head held high. However his new record ventures where few hard-rockers would dare to tread — a solo acoustic album of live performances. Songbook includes hits from all of the aforementioned Cornell manifestations, some solo originals and two impressive covers — Led Zeppelin’s ‘Thank You’ and John Lennon’s ‘Imagine’. While the juxtaposition of Cornell’s hard rock voice and simple acoustic guitar takes some acclimatisation — think Bon Scott playing the local pub with six-string and bar stool — the reward is a bare insight into the underpinnings of a rock great — one mighty and melodic voice, and the ability to write songs that eloquently express the human condition. ~Craig Faulkner

Clap Your Hands Say Yeah Hysterical V2/Universal

4.5/5

Hysterical explores the peculiarity of love; through wonderment to hysteria, but always with a sighing, melancholy overtone. As expected from any CYHSY collection, there is an untamed, dirty grit to the tracks, tied sweetly together with soft keys and heavy drums. From the light hearted, uplifting opening track ‘Same Mistake’, the album falls quickly into the name sake of the album, ‘Hysterical’ and continues on a rollercoaster crash course through the hazards of life and love. The vocals in Hysterical never quite reach the hysteria anticipated by the title. Instead, they surpass this through a stark contrast between fast, almost agitated instrumental melodies, held against sighing and resigned vocals. A brilliant collection, expertly mixed to bring forth the essence of CLHSY. ~Jessica Saxon

Amy Winehouse Lioness: Hidden Treasures Universal

2.5/5

With the death of Amy Winehouse, many said it wasn’t a matter of if, but when. The same can be said about Lioness: Hidden Treasures — the posthumous release everyone saw coming. Compiled by long-time creative partner Salaam Remi, Lioness is a mixed bag. For the most part, its treasures are few and far between. On the opener, ‘Our Day Will Come’, Winehouse sounds reserved and strangely muted and the track lacks the intensity of her later releases. Back to Black producer Mark Ronson donates an alternate version of ‘Valerie’ and a powerful rendition of ‘Will You Still Love Me Tomorrow?’ — the clear standouts. Winehouse owns these covers with her signature ballsy and drawly delivery. Overall, Lioness is a rush job — a collection of fragmented and over-produced tracks that might have been better left unreleased. ~Amelia Parrott

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photos by Julie Lowe

FESTIVAL OF THE SUN Review

a dressed-up punter is a happy punter

brothers grim

the lyrical

benjalu hungry kids of hungary

Festival of the Sun December 9-10 Port Macquarie

The tents, eskies, and colourfully dressed loons started rolling in to Port Macquarie early on Thursday afternoon. They were greeted by smiling faces from Festival of the Sun staff and storm clouds from mother nature. “What a bitch!” I thought while setting up my tent. Luckily, by Friday morning she had gotten over whatever trip she was on and stopped crying so we could get on with it and enjoy our festival! Friday kicked off with people taking full advantage of the BYO status of FOTSun as case upon case of beer flooded in to the campgrounds, putting the crowd into the best

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possible frame of mind for the gates to open. The music kicked off for me with the Kiwi-born, Australian claimed, King Cannons. They ripped into a Gaslight Anthem-esque set that got all the punters up and dancing. Art Vs Science was the perfect headliner for the first night with fists pumping, kids pashing and feet stomping the night away. Saturday morning rolled in and there were a lot of dusty heads and fabulous, fuzzy memories. Pigeons got up early and got the crowd pumping. Newcastle boys Benjalu had us swaying and singing along with the most fitting song of the festival, ‘Almost See it’, which discussed the finer

points of drinking too much. All talk was directed towards the strong rock-a-billy influence of the festival, with Brothers Grim and The Snowdroppers rocking out the afternoon slots. The highlight of the festival was The Snowdroppers playing ‘You Make Me Wanna Shout’. The crowd got a little bit softer now… then they got a hell of a lot louder! Finally, Ladyhawke rocked out the night, finishing up her set with hit song ‘Delirium’ which had arms flailing and smiles beaming. FOTSun is now a must on my festival calendar! ~Linda Wales

photos by kevin bull

homebake Review

ladyhawke

pnau

daniel merriweather

grinderman

gotye

Homebake Saturday, December 3 Sydney

Homebake made its return to the city of Sydney with its classic edition and many were betting on it being a triumphant one. The skies were certainly onside as perfect festival weather put teeth into the already excited smiles of punters. Arriving late to see The Vines playing to a packed main stage should’ve been the kickstart to the day you’d expect. Short their much needed second guitarist and with a replacement drummer hitting like he was auditioning for the school band, Craig and co limped through what I saw of their set before cruising to C.W. Stoneking. Arriving to a much smaller crowd and wondering why festivals set up small stages smack bang in front of the main stage, the bluesman shrugged, swaggered and proceeded to kill it for the next 40 minutes.

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As with all festivals, the pot at the end of the rainbow can usually be found on the smaller stages. Melbourne’s Big Scary were absolute boss and remained one of the day’s best by the time Grinderman brought the festival to an awkward end. Joining them not long after on the same stage were Unknown Mortal Orchestra. Guitarist and singer Ruben Nielson (ex-Mint Chicks) made a mockery of his guitar and with the help of his US bandmates had the packed tent in his palm ’til the last note. Songs off their self-titled LP rocked, rolled and leapt from the stage in what was the set of the day for me. Late afternoon blurred into night as the sneaky stash emptied. Icehouse had me grooving like it was 1985, and with a cover of T-Rex, it was game, set, match. Kimbra was

late, not as hot as she was cracked up to be, and bored me enough to bail after three songs. But Architecture in Helsinki were as good live as you can get, and from what I caught of Pnau’s set, ditto. The Jezabels pulled a wellearned packed house, as did Gotye. Finally, after what seemed like an eternity, Grinderman swaggered on stage, none cooler than Mr Warren Ellis. Shoot the sound guy, though. From where I stood, the sound was a muddy booming mess for at least half an hour, before a crashed laptop, during their encore, brought what seemed like an unstoppable beast to a grinding halt. It didn’t matter, Homebake put one word on lips that festival organisers love to hear come home-time... ‘classic’. ~James Gallagher

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photos by tim boehm

peats ridge Review

mountain mocha kilimanjaro

xavier rudd

tijuana cartel

benjalu haNGGAI

Peats Ridge Festival Glenworth Valley December 29 - January 1

There are festivals with bigger line-ups but when it comes to vibe, Peats Ridge Festival does not disappoint. It is possibly the most relaxed festival around and I can’t think of a better way to bring in the new year, than camping in a beautiful valley on the edge of a creek that just happens to have a festival on the other side. For the first time, this year I decided to take my kids to the festival — a big step for anyone, taking a six, four, and one-year-old to a three-day music festival and all of the crazy events that usually ensue. But the kids’ festival was the highlight for me, with free activities, face-painting, workshops and the cleanest toilets in the whole festival site. The Dum Dum Girls were the first act on the main stage to catch my ear. I’d never heard of them before but enjoyed their girl-flavoured punk rock sound — totally out of keeping with the bush setting of Glenworth Valley but then again almost everything is. Xavier Rudd filled the headline position for night one of 36 reve rb

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the festival and attracted a massive crowd. However I was disappointed with his set — it seemed tired and disjointed. I’ve often argued that the big name artists at festivals don’t need to be scheduled last on the main stage and this was a great example of why. An early evening slot would have done more justice to Xavier’s set and allowed a higher energy artist to finish the night. A big highlight was a new stage this year, The Pirate’s Lair replacing the Dubshack from previous festivals. It was if an illegal doof had been transplanted into the middle of the festival, playing a mix of experimental beats, dubstep, psy-trance and house. It had a huge crowd dancing away until the wee hours of the morning. The band with the strangest name on the line-up, Mountain Mocha Kilimanjaro, also gave one of the highest energy performances I’ve seen from a funk band. In the opinion of my six-year-old, “they smashed it” and I tend to agree. However, my musical highlight of the festival didn’t come

’til sunset on New Year’s Eve when Hanggai took the stage. I’d heard of their Mongolian/Chinese style rock but was unprepared for the impact it would have on me. It was simply incredible, and the crowd responded in kind. Hanggai were replaced on stage by the judging for the fancy dress competition. Over 75 per cent of the crowd were dressed up for the final night and as always it was one of the highlights of the festival, especially as the winner of the best dressed child category happened to be my fouryear-old in a Where the Wild Things Are outfit. Of course the act most people were waiting for was Gotye, who was bringing in the new year. And I have to admit feeling slightly let down by his set list — not that there were any hits missing. But he finished on a downer, playing the low tempo ‘Bronte’ as an encore rather than finishing with something more suitable for a NYE party, like ‘Learnalilgivinanlovin’. ~Tim Boehm

WOODFORD Review

photos by sam paqueTte

MULLUM Review

dubmarine

the dynamites, with charles walker

gotye ©Sam Paquette

décore ©Sam Paquette

one magnificient beard and its owner ©Sam Paquette

anna coddington

the herd ©Sam Paquette

Mullum Music Festival

Woodford Folk Festival

Mullumbimby November 24-27

Woodfordia December 27 – January 1

Just because Mullumbimby is a small sleepy town doesn’t mean it can’t host on a huge festival! This was definitely the case in November when the Mullum Music Festival lit up the far north coast of NSW. World music is alive and well. I was amazed at the depth of talent that converged on the picturesque little country town. So many countries were represented that it made for a who’s who on a global scale. The Dynamites with Charles Walker from the US blew the roof off the local high school auditorium with funky soul tunes reminiscent of James Brown or Ray Charles. Stranger Cole from Jamaica brought authentic reggae, backed by our own home grown reggae talent King Tide. We were also lucky enough to have Epizo Bangoura from west Africa and Tracey McNeil from Canada just to name a few. I’d like to pinpoint some highlights of the festival, but to be truthful, the whole festival was a highlight. I would like to say however that if you

It would be easy to believe after last year’s Woodford Folk Festival that perhaps festival goers and artists alike would return heavily waterproofed, if at all. Fear not, for the weather gods obviously had greater plans for this year. Seasoned campers and day trippers alike (sans waterproof gear), were encouraged to take part in a range of collaborative artworks during the week to be gifted to the fire during the closing ceremony. That is of course if you could manage to tear yourself away from any of the 20-plus festival venues offering everything from yoga, live theatre, dance classes, freak shows, burlesque, rap city bingo, Aboriginal drag queens and of course any genre of music you could possibly poke a stick at. ‘Guitar Hero’, the magical combination of three of Australia’s most talented young guitar players, Joe Robinson (Winner of Australia’s Got Talent, 2008), Daniel Champagne and Gerard Mapstone drew a standing ovation for their debut performance together. Joe Robinson’s solo shows also saw many a ‘Smokin Joe Robinson’ T-shirt floating amongst the crowd. Keeping with our home grown talent, Busby Marou and Jordie Lane both offered crowd-pleasing, soulful tunes

tim freedman

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haven’t seen the reggae band Fyah Walk or the gypsy hardcore band Barons of Tang, put them on your ‘to do’ list. What struck me over the four-day festival was how accommodating and friendly the town was. It allowed for a mix of all ages through all the venues, which in turn created a great family atmosphere so that everybody could enjoy the gift of music together. A special mention has to go out to the flower-power double-decker magic bus and its wonderfully entertaining conductors for the free rides up and down the venue strip over the festival weekend. The festival boasted more than 100 performers playing across eight venues, which included the high school auditorium, RSL and bowling clubs, pubs and town hall. The next Mullum Music Festival definitely should be pencilled to your calendars, as it’s a festival that you’ll always remember. ~Terry and Jordyn Paull

joe robinson ©Chris Ahern/kickthecowphotography.com

accompanied by humorous tales of tours and travels. If the main stage is more your thing, the likes of Gotye and Xavier Rudd at the Amphitheatre certainly didn’t disappoint, not to mention a delicious set from Owl Eyes — a welcome surprise before The Herd got the crowd moving for a second night in a row. On an international note, Japanese outfit Dachambo blew the roof from every venue they played with their avant garde rock pop gaining loyal fan support throughout the week. The Wiley Reed Band was a welcome injection of classic jazz and blues, nightly at the Pineapple Lounge, whilst Mountain Mocha Kilimanjaro got the crowd dancing with their combo of furious rock ‘n’ roll, funk and soul. New Zealand’s Swamp Thing — combining the forces of former John Butler Trio percussionist Michael Barker and gravel-voiced blues singer Grant Haua — certainly didn’t disappoint and was an absolute crowd favourite. If the talent and energy of the festival this year was anything to go by, then Woodfordians have nothing to fear. This festival will be delighting and enticing crowds from all walks of life for many years to come, rain, hail or shine. ~Lauren Jackson & Caroline Russo reverb magazine issue #066 — Jan–Feb 2012 37

LIVE Reviews

gig of the month

The Getaway Plan

Your Festival

Foo Fighters

Cambridge Hotel, Newcastle Saturday, November 26

Newcastle Panthers Saturday, December 10

Sydney Football Stadium Thursday, December 8

©Matt McIntyre Ball Park Music ©Ashlee Kellehear

Hailing from Melbourne, The Getaway Plan stormed into the Cambridge Hotel sporting hair of towering proportions, in support of their new album, Requiem. With their relatively softer new material on display, the set was a fluctuating wave of ballads and hard rock efforts. Singer Matthew Wright’s emotive lyrics in his gentle highpitched voice contrasted with the constant pounding of tom toms, crashing cymbals and super heavy riffs. With epileptic lighting synchronised to epic string and piano synthesisers, The Getaway Plan tore through new single ‘The Reckoning’ to a filled-out band room of enthusiastic screamers. Wright plucked a heartstring with the ladies as he whipped out an acoustic guitar announcing that his next song was “about everyone in this room”, before launching into a soft love ballad with a sombre but interesting melody. Dramatic drumming and a head-banging guitarist with limitless energy shone during crowd favourites ‘Flying Colours’ and ‘Shadows’. Then every member of the band pulled a tom-tom onto the stage for a jam, taking the beat to new heights for the last quarter of the show before finishing with the well-known ‘Where The City Meets The Sea’ and ‘Requiem’. ~Charli Hutchison

The Howling Bells

There is just something so unsettling about being at the Cambridge in the stark light of day. This, coupled with the complete lack of crowds, made for a completely minddulling experience. Sure the music was reasonably pleasant – the upbeat indie pop of The Jungle Giants was infectious; acoustic folk gem, Jen Buxton, is always flawless; and watching Andy Bull rock it out on his keyboard in the corner of the Red Bar was nothing short of endearing — but the venue’s overall awkwardness made the quality tunes difficult to enjoy. All I can do is thank Cheesus (I suspect this may be the wrong platform for a Glee reference) for Brisbane six-piece Ball Park Music. Belting out a slew of hits including ‘Rich People Are Stupid’, ‘Literally Baby’ and ‘All I Want Is You — the Triple J favourites oozed raw energy. Frontman Sam Cromack, who seemed strangely enthusiastic about his presence at the event, closed the set on a high with a ridiculously uplifting rendition of ‘It’s Nice To Be Alive’. While these lyrics didn’t ring true for most of the night, in that moment, they certainly did. ~Lee Tobin

Opeth

It takes a special band, and a very special man to hold 50,000 people in the palm of his hand. Over the course of two hours and 23 songs, Dave Grohl and his cohorts delivered a career-spanning arena performance that would be difficult to better. From the opening chords of ‘All My Life’, until the closing notes of the 14-year-old ‘Everlong’, the Fooies shook the Sydney Football Stadium to its foundations. All albums were tasted, with their latest, Wasting Light, and 1999’s There is Nothing Left to Lose getting the biggest outing. ‘This is a Call’ from their 1995 self-titled debut was a highlight. Plus it was great to see Grohl share it around, with drummer Taylor Hawkins singing ‘Cold Day in the Sun’. Following the main set closer, ‘Best of You’, and the quite hilarious backstage video of Grohl, Hawkins and the crowd debating how many songs they would play for the encore, Grohl stood in the middle of the SFS on a raised platform with just an acoustic and delivered ‘Wheels’ and ‘Times Like communicated a sense of pure musicianship that other bands lack or overshadow with over-the-top visuals. Opeth are commended for taking the brave step of cutting back on the superficial in front of a stereotypically critical audience. ~Lilen Pautasso

Great Northern Hotel, Byron bay Wednesday, January 11

Enmore Theatre, Sydney Friday, December 16 ©Emma Visman

©Kevin Bull ©Kiah McCarthy

magazine issue #066 — Jan–Feb 2012

Grouplove

Great Northern Hotel, Byron bay Tuesday, January 10

©Bibi Eckhardt

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These’. It was personal and as intimate as you can get in a crowd of 50,000. Foo Fighters are a special breed. Playing what is essentially straight up rock ‘n’ roll — nothing more, nothing less, they have forged a place in the hearts of a generation. Grohl is the bloke you want to have a beer with at the local — the one you hand a battered guitar to and ask to play that song, ‘you know the song’, and you sing along with the other 50,000 people. Man, it was good. ~Kevin Bull

Bluejuice

Level One, Newcastle Leagues Club Friday, December 9

Barely 20 people were on the top floor of Newcastle Leagues during Howling Bells support, Steve Smyth. He was a lonesome, soulful act, singing every one of his original songs with meaning. Then, after a little more music and a little more waiting, the sexy Juanita Stein and her boys paraded on stage to begin the set with a few songs from their 2011 release The Loudest Engine. Since the latest from the Australian band was not as successful as their previous (particularly their debut), the first few numbers dragged on, despite those swooning melodies. But when ‘Setting Sun’ was brought out, the passion and euphoria flowed. The fire and enthusiasm of the Bells burnt brightly throughout the performance, with sneaky smiles and roaming tambourines creating an unforgettable stage presence. Finally, the encore burst into ‘Low Happening’ in its jangling, slashing glory, getting the bods in the audience bopping. The Howling Bells can still put on a great show. ~Jamie Nelson

©Kevin Bull

As a death metal band famous for stretching the conventional code of heavy metal, the Swedish quintet were in the country to promote their tenth studio release Heritage – a milestone album that has also parted fans down the middle. Commencing with the perhaps the best track of the new album, ‘The Devil’s Orchid’, the band began with exceptional precision, engaging the audience and flaunting the technical prowess that made them famous. Continuing with ‘I Feel the Dark’, the audience responded enthusiastically to the interesting and clever array of prog-rock and heavy metal sounds, fused together in almost complete contradiction. The band also dove into their back catalogue, digging up some phenomenal early-Opeth tracks from albums such as Still Life (‘Face of Melinda’) and My Arms, Your Hearse (‘Credence’). As possibly the two best songs of the evening, Opeth finished the acoustic side of the show by performing ‘Throat of Winter’ from the God of War III video game — a completely unexpected but brilliantly composed track. Overall, the show

In the lead-up to the release of Company, there was much hoopla about how Bluejuice were coming of age. To an extent, it was true — Company is as sophisticated a pop record as was released last year. And yet Bluejuice are probably the least mature touring band on the face of the entire planet, and that’s the way they like it. They’re outwardly rambunctious. They make fart jokes. It came as little surprise, therefore, to see the band take the stage covered in fluoro duct tape, vocalist Jake Stone already shirtless and Stav Yiannoukas, (also vocals) wise-cracking about his penis. Accordingly, their set was rampant — rife with handclaps, impossible harmonies and all of the hits. Stone split his time evenly between surfing the crowd, backflipping off speakers and humping his microphone stand, somehow finding time in amongst it all to get most of the lyrics right. The set was heavy on tracks from Company, which were well received by a boisterous Byron crowd. Newies ‘Act Yr Age’ and ‘The Recession’, in particular, showcased the band’s knack for turning irreverent, retropop numbers into something less kitschy and more catchy. Still, the biggest cheer came for set closers ‘Vitriol’ and ‘Broken Leg’, which feverishly capped a sophisticated evening of elegant, grown-up music for mature people. ~Max Quinn

After watching Grouplove blow the (metaphorical) roof from of the Falls Festival on new year’s eve, I was more than excited to see what they would do for a (more intimate) encore in Byron Bay. The Northern was the final stop on the Los Angeles quintet’s whirlwind national tour, and given that they first came together at a hippie commune in Greece, Byron’s infamous back room could not have been a more appropriate setting. The band ran the full gamut of their debut album, Never Trust a Happy Song, playing every track from the long-player in addition to a couple of choons from their 2010 self-titled EP. The bouncy ‘Lovely Cup’ and flat-out fantastic ‘Itchin’ On A Photograph’ came early, setting the tone for what was a jubilant hour-long set. What makes the band work as a whole is the interplay between each of its members. There is an irrefutably genuine connection between singers Christian Zucconi and Hannah Hooper, and the banter between Zucconi and bassist Sean Gadd is whimsical and fresh. Gadd nearly stole the show with a rousing rendition of NTAHS’s ‘Chloe’, delegating bass duties to Zucconi and romping the stage solo. Fittingly, the set closer was ‘Colours’, Happy Song’s lead single, which married feverish intensity with a warmth and earnestness that can’t be denied. The show ended, and the five members stood arm-in-arm for one final bow on Australian shores, promising they’d return soon. I, for one, sincerely hope they do. ~Max Quinn Follow us on Twitter

photos by Cassandra Hannagan

falls festival Review

the jim jones revue

the arctic monkeys

the naked and famous

metronomy

fleet foxes

CSS

Falls Music and Arts Festival Lorne, Victoria December 28 – January 1

Like all music festivals, the Falls Music and Arts Festival is an exercise in anthropology. Put 16,000 complete strangers in an enclosed arena, add alcohol, and stir. Oh… and there’s a heap of cool bands playing, too. We’ll get to them in a minute. Firstly, the experience itself — Falls is the go-to summer music festival. Not only did the organisers manage to secure the best line-up of all of the summer shindigs, but the quota of pill-popping, singleted dickheads [and the women who inexplicably fall in love with them] is significantly lower than you’ll find at your garden variety Big Day this and Summer Field that. Nobody wiggles their genitalia and nobody wants to fight you. It’s nice. Lorne itself is remarkably pleasant — you can reach it, as I did, in about two-and-a-half hours, travelling by train and then bus along the Great Ocean Road from Melbourne. If

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you’re driving, patience is a virtue — while the festival in general may be a jerk-free zone, even I can rationalise a little road rage when you’re driving up a 70 degree slope in 35 degree heat. Oh! And about the heat. It’s fuck’n hot, eh! The reason that we were all there, of course, was the stellar line-up of musicians. Heading the bill were Brit sensations, The Arctic Monkeys, and The Kooks, neither of whom failed to deliver. I can testify firsthand that nothing in the world beats the jubilant euphoria of shouting your own misinterpreted version of Alex Turner’s heavilyaccented lyrics into the face of a complete stranger as the clock hits midnight. Maybe you successfully stick your tongue down her throat for a few minutes, maybe her boyfriend exchanges obscene gestures with you — at the end of the day what’s important is that you tried.

As for other highlights, it’s hard to go past Grouplove, who filled the Erskine Falls hill in sweltering heat at 3.30 in the afternoon. Their set was one of rambunctious elation, and, clearly humbled, they twice paused to thank the crowd for being the best they’d ever had. Fleet Foxes executed their one trick (choral harmonies at different volumes) beautifully — as much as this sounds like a backhanded compliment, when you do it that well, who cares how many tricks you have — and Missy Higgins showcased a batch of surprisingly-well constructed pop songs from her forthcoming release. I don’t know that it’s fair to list lowlights, so instead I will furrow my brows at The Jezabels and close with this: next year, you’re going. It’s going to be great. ~Max Quinn

reverb magazine issue #066 — Jan–Feb 2012 39

FilmS of 2011

celluloid dreams 2011 is now behind us and it is time to have a look at the hits and misses of the year gone by. Of all the genres, it was comedy that failed to deliver very much at all in 2011. One stand out was Bridesmaids, which had its predominately female cinema audiences literally rolling in the aisles, and many coming back for a second viewing. The Hangover Part II should have been good but just rehashed ideas from the first and did not raise as many laughs. Big budget does not always make a good film and this year saw no shortage of high-priced turkeys. Honourable mentions in this category go to the feature-length music video Sucker Punch, closely followed by Transformers 3 which was epic in size but minuscule in plot. But the gong for worst action movie has to go to Green Lantern for being one of the most awful super hero adaptations ever made and a truly painful cinema experience. It was not all bad though — we got Thor, which was an enjoyable romp with witty dialogue and impressive effects. There was also the excellent re-imagining of Rise of The Planet of the Apes, the crowd-pleasing finale of Harry Potter and, right at the tail end of the year, Mission

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Impossible: Ghost Protocol which is about as exciting as an action movie can get and beats all the previous outings in the franchise. There was no shortage of quality dramas with great performances with the likes of The Ides of March and The Descendants. But it was Moneyball that outshone everything else in the drama category with its sharp script and commanding lead role from Brad Pitt. It was refreshing to see the Australian film industry coming through with some of the year’s best, with Red Dog, the family feel-good hit of the year, out-grossing the likes of Mad Max and The Man from Snowy River at the box office. There was also the brilliantly made, yet deeply disturbing, Snowtown, which portrayed the true story of the infamous grisly murders that occurred in South Australia during the 1990s. It picked up numerous well-deserved awards, including one at Cannes. Oranges & Sunshine was another worthy mention on the home front with an outstanding performance from Hugo Weaving. Movie of the year? Well, for me it has to go to the über cool Drive, starring Ryan Gosling — a unique blend of art house cinema, romance and crime drama with ample

servings of extreme violence. It divided audiences, with one disgruntled patron (in the US) attempting to sue because the movie was not enough like the Fast & Furious franchise?!? So what do we have to look forward to in 2012? Well the first two that come to mind are: The Dark Knight Rises, Christopher Nolan’s final chapter in his Batman series; and Peter Jackson’s The Hobbit, which has high expectations but will no doubt deliver. There is also The Avengers, which will see the grouping of Marvel’s biggest heroes in the hands of director Joss Whedon. On the sci-fi front, fans of the Aliens movies will be eagerly awaiting Ridley Scott’s Prometheus which is tipped as a prequel to Aliens (even though this has not been confirmed or denied by the makers just yet). It does appear to be another journey into deep space for Scott, with leanings toward horror if the teaser trailer is anything to go by. Other films of interest will be one for the family, with Dr Suess’s The Lorax; a demonic possession horror, in the form of The Devil Inside; and 007 gets another outing with Skyfall, starring Daniel Craig as Bond and Javier Bardem as his foe. ~Mark Snelson

DVDs of 2011

DVD Marathon And the Award goes to... January marks the beginning of the serious awards season, with accolades like the Screen Actors Guild awards, the Golden Globes and the BAFTAs considered to be predictors for The Academy Awards. It’s time to add another awards ceremony to this list, one that celebrates the finest DVD releases of 2011. Here in print are the official winners of the inaugural Reverb DVD Awards, or RDAs.

Best ‘Oscar’ Film

Nominees: The Kids Are All Right; Black Swan; The Fighter; The Social Network; The King’s Speech

r e vi e wed

Friends With Benefits r e vi e wed by

Sallie Pritchard r ated

3.5/5

meta-sexual Director/producer Will Gluck is obsessed with sex. Or rather, he’s interested in genres with sex as their key underlining factor: how it complicates things; the power relations that define it; or how a lack of it plays out. In Easy A, he turned his attention to the teen film and the sexual politics of high school. But with this film, Gluck has sets his sights firmly on the romantic comedy. Friends With Benefits concerns Dylan, played by Justin Timberlake, and Jamie, played by Mila Kunis. Jamie, a headhunter, has just recruited Dylan for a magazine in New York and offers to show her the sights of her new home. The pair bond over their recent relationship breakdowns and decide

to give casual sex a whirl. There are few surprises in this film. Jamie and Dylan’s wish to eschew traditional forms of intimacy stem more from emotional problems than a disinterest in romance — Jamie has a free-spirited mother whose relationship history has all but ruined her own and Dylan struggles with intimacy while coming to terms with his father’s illness. One can easily guess the ending, possibly during the opening credits. Add a sassy gay character who treads a thin line between comic and offensive, a crazy mother, and a father offering sporadic sage advice, and most of the stock romantic comedy characters are in play.

But perhaps this is Gluck’s intention. Friends With Benefits certainly plays as a romantic comedy about romantic comedies, rather than an attempt to subvert and question the genre’s more questionable or offensive elements. It’s a little disappointing, given its premise. In fact, not much cleverer than the films it purports to ridicule. In the reflexivity stakes, it’s not in the same league as films like Hot Fuzz or television series like Community. Despite its flaws, Friends With Benefits is funny and filled with great performances, showing that a ‘no strings attached’ approach never works. No, wait — it shows that No Strings Attached doesn’t work.

Winner: Black Swan The King’s Speech satisfied our need to see royalty suffer; The Fighter was a finely acted Rocky for the 21st century; Sorkin and Fincher turned some kid’s website into a sexy courtroom drama in The Social Network; and The Kids Are All Right ticked all the boxes for a beautifully realised family drama. But Black Swan took the creative process and made it so terrifying to watch that it has become difficult to look at any creative personality in the same way, making it one of the most affecting DVD releases of the year. Film Most Likely To End A Franchise

Nominees: Transformers: Dark of the Moon; Thor; Captain America: The First Avenger; The Green Hornet; Green Lantern

Winner: Green Lantern While the first three nominees were relatively successful (and the last two, well, not so much), it’s Green Lantern that wins this prestigious award. One hopes that Taika Waititi earned enough from the film to fund one of his own infinitely better films. Best end-of-year release

Nominees: Harry Potter and the Deathly Hallows: Part 2; Friends with Benefits; Rise of the Planet of the Apes

Chicks who DIG dick jokes By Sallie Pritchard Though the definitions are crudely drawn and reliant on stereotypes, I believe there are clearly identifiable ‘boy movies’ and ‘girl movies’. Boy movies are often characterised by dick jokes and car chases. Girl movies are usually filled with women facing the agonising choice between career

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and family and learning how important it is to have a boyfriend. But why is a ‘boy movie’ like The Hangover successful with both male and female audiences? It may speak to an entire generation unsure of their identity and the questions that arise: Should I be growing up? Do I need a career? Should I be getting married or just getting drunk? 2011 saw the release of Bridesmaids and The Hangover II. Both share a similar premise: the preparations for a wedding go completely wrong. Both play with the idea of marriage as the holy grail of emotional maturity. While The Hangover II’s predecessor helped define this kind of film, Bridesmaids is the more successful film. It’s more emotionally engaging and the relationships between characters are more genuine, going beyond potential for cliché. The Hangover II, on the other hand, is a disappointing film, being almost exactly

the same as the first, apart from a change of location which only serves to make it more offensive and culturally insensitive. While the cast of Bridesmaids revel in their roles, the cast of The Hangover II shun character development and opt instead for overacting. It also doesn’t hurt that Bridesmaids was directed by Freaks and Geeks creator/genius Paul Feig. The success of Bridesmaids with both male and female audiences suggests the great questions of marriage, maturity and identity are engaging no matter what your gender, and the popularity of both Bridesmaids and the Hangover films show that it’s possible to tackle these questions with a similar sense of humour while taking a decidedly masculine or feminine perspective. The great part about Bridesmaids is that it’s from the decidedly feminine perspective of women who find dick jokes hilarious and car chases fun.

Winner: Harry Potter and the Deathly Hallows: Part 2 While Will Gluck’s latest was enjoyable, albeit nowhere near the quality of previous effort Easy A, and James Franco was in the other one, Harry wins because it’s a fitting end to everyone’s Harry Potter collection and the beginning of finding the main cast attractive. Best unnecessary remake

Nominees: Arthur, I Spit On Your Grave

Winner: Arthur Arthur’s shameless piggy-backing of Brand’s public persona was still moderately entertaining, possibly because his persona is so charming. I Spit On Your Grave, on the other hand, added absolutely nothing to the far superior and still shocking original. Best second outing

Nominees: Parks and Recreation; Community; Modern Family; Swift and Shift Couriers

Winner: Community An award with an incredibly strong list of nominees, but it’s Community that takes top honours for introducing ‘meta’ into the vernacular, and for the episode ‘Critical Film Studies,’ directed by Richard Ayoade. ~Sallie Pritchard

reverb magazine issue #066 — Jan–Feb 2012 41

NEWCASTLE Don’t forget — Live & Local every Wednesday night

gig Guide Newcastle Wed, January 18

Sun, January 22

Fri, January 27

Fri, February 3

Cambridge Hotel, Newcastle

Beachcomber Hotel, Toukley

Cambridge Hotel, Newcastle

The Phat Controller

Chino’s Bar, Newcastle Thee Oh Sees, Straight Arrows, Bare Grillz

Lass O’Gowrie Hotel, Wickham The Jimmies, Hatty Fatners, Heirs of Tide

Lizotte’s, Kincumber

27-28 Jan Ian Moss 29 Jan 2 Feb

Busby Marou Bodacious Cowboys

Ollie Brown, Luke Watt, The Firetree, Nigel Wearne

Lizotte’s, Lambton Karen-Anne Waters, The Delta Lions, Isabella & Callum, Taylor & The Makers

Thur, January 19 Grand Junction Hotel, Maitl Pete Cornelius

Lass O’Gowrie Hotel, Wickham

3 Feb

Richard Clapton

Creative Creatures

Lizotte’s, Kincumber Andrew Winton, Phil Edgely

Lizotte’s, Lambton Bruce Mathiske

Wickham Park Hotel, Islington

8 Feb

Colin Hay

Crimson Lake

Burlesque 12 Feb

Barry Leefs - Doobies, Eagles & West Coast Rock

Toot Toot Toots

Great Northern Hotel, Newc Steve Smyth

Kincumber Hotel Itchy Feet

Lass O’Gowrie Hotel, Wickham Sam & the Preacher Boys, Holly Who,

Graeme Connors

Lizotte’s, Lambton Andrew Winton, Phil Edgely

Seven Seas Hotel, Carrington Hugh Gordon

and The Shadow Katz

Stag & Hunter Hotel, Mayfield

16 Feb

Cotton Keays and Morris

Wickham Park Hotel, Islington

17 Feb

Brian’s Famous Jazz and Chilli Crab Night

18 Feb 23 Feb

King Tide Karl Broadie & Caitlin Harnett

24 Feb

Jon Stevens

25 Feb

Doug Parkinson

29 Feb

Mark Wilkinson

Twinsanity Eye On You

Sat, January 21 Avoca Beach Hotel Troy Henderson

Belmore Hotel, Maitland Streets of Omah

Cambridge Hotel, Newcastle Creations

Coast Hotel, Budgewoi Mark Cashin & the Lil Hussys, Dirty Utility

General Roberts Hotel, Lambt Nick Raschke

Great Northern Hotel, Newc Iron Bar Hotel

King Street Hotel, Newcastle

For bookings and information, phone (02) 4956 2066 or visit lizottes.com.au

Goodwill

Lass O’Gowrie Hotel, Wickham Jungal, Faye Blais, Aitah

Lizotte’s, Kincumber Bruce Mathiske

Lizotte’s, Lambton Graeme Connors

Northern Star Hotel, Hamilton Indian Gun, The Canyoneersmen

Seven Seas Hotel, Carrington Marriah

Stag & Hunter Hotel, Mayfield Great Big Hits

Wickham Park Hotel, Islington Chase the Sun, Claude Hay

42 reverb

magazine issue #066 — Jan–Feb 2012

Grand Junction Hotel, Maitl Pugsley Buzzard, Lisa Otey

Kincumber Hotel John Larder

Lass O’Gowrie Hotel, Wickham Dirty Elvis, Gareth Hudson Arc, Tim Daniels

Lizotte’s, Lambton Israel Cannon, Jacob Pearson

Pedens, Cessnock Brett O’Malley

Terrigal Hotel Chris Byrne

Wickham Park Hotel, Islington Dai Pritchard

Boat Friends

Caves Beach Hotel Casey Donovan

Central Coast Leagues Club Damnation

Grand Junction Hotel, Maitl Chase the Sun

Great Northern Hotel, Newc Chicks Who Love Guns

Kincumber Hotel Kuta Groove

King Street Hotel, Newcastle Steve Hill, Suae, Pulsar

Lass O’Gowrie Hotel, Wickham On The Stoop, The Rum Corps, Hats Bennett

Lizotte’s, Kincumber Busby Marou, Georgia Fair

Lizotte’s, Lambton Ian Moss, Israel Cannon

Tues, January 24

Stag & Hunter Hotel, Mayfield

Blackbox Theatre, Hamilton

Wests Leagues Club, Lambton

Backtrack, Iron Mind

Chino’s Bar, Newcastle Sun Araw, Prince Rama, Rites Wild, Alps

Newcastle Panthers

Daniel March

Valentine’s Day with Zoe K

Dan Granero

Cessnock Rugby Support. Club

Lizotte’s, Kincumber

14 Feb

Catherine Hill Bay Hotel

Civic Theatre, Newcastle

Grand Junction Hotel, Maitl

The Ruby Revue

Pants Optional , Floggin the Goods

Fri, January 20 Spy vs Spy, Mark Cashin

11 Feb

Guttermouth, Driver’s Side Airbag,

Morning of the Earth Cavalera Conspiracy

OMG! Chris Byrne

Wickham Park Hotel, Islington Milestones

Sat, January 28 Beachcomber Hotel, Toukley Ross Wilson, Mark Cashin & the Lil Hussys, The Atlantis, Damnation

Wed, January 25

Belmore Hotel, Maitland

Cambridge Hotel, Newcastle

King Street Hotel, Newcastle

The Lazys

Chino’s Bar, Newcastle Flamin’ Drongo Australiana Party

Croatian Club, Islington Wild Dog Creek, Document Swell, Red Hymns, Yolke, Trjeau, Frederick, Polyfox & The Union Of The Most Ghosts, Before Tigers

Grand Junction Hotel, Maitl G. Numan band

King Street Hotel, Newcastle DJ Yoda

Lass O’Gowrie Hotel, Wickham Little King, Rhys Zacher

Lizotte’s, Kincumber Hats Bennett, Flood The Sky, Rowan Falzon

Lizotte’s, Lambton Patrick James, The Evergreen Trail, Zoe Elliott

Oasis Youth Centre, Wyong The Chariot, Pergamum

Seven Seas Hotel, Carrington Nick Raschke

Wickham Park Hotel, Islington The Snowdroppers

Thur, January 26 Bateau Bay Hotel The Radiators, Chris Byrne

Blush Nightclub, Gosford The Chariot, Pergamum

Cambridge Hotel, Newcastle

Lady K and the Goodtimes Kato

Lass O’Gowrie Hotel, Wickham Hopes, Savage Track Record, A Little Province

Lizotte’s, Kincumber Choirboys

Lizotte’s, Lambton Ian Moss, Israel Cannon

Seven Seas Hotel, Carrington Mama Jane’s Band

Stag & Hunter Hotel, Mayfield Dr Zoom

Wickham Park Hotel, Islington Thieves

Sun, January 29 Grand Junction Hotel, Maitl The Stillsons

Kincumber Hotel Jono Lee Jones

Lizotte’s, Kincumber Mike McCarthy

Lizotte’s, Lambton Busby Marou, Georgia Fair

Wickham Park Hotel, Islington Floyd Vincent

Wickham Park Hotel, Islington Good Benji

The Bad Bad Things

King Street Hotel, Newcastle The Only

Lizotte’s, Kincumber Ian Moss

Lizotte’s, Lambton Richard Clapton, Simon Shapiro

Sat, February 4 Beachcomber Hotel, Toukley Chris Byrne

Great Northern Hotel, Newc The Delta Lions, Leadfinger, Hazards, Landon Elliot River

King Street Hotel, Newcastle Laidback Luke

Lizotte’s, Kincumber Ian Moss

Lizotte’s, Lambton Elixir, Daniel Champagne

Sun, February 5 Beachcomber Hotel, Toukley Steve Edmonds

Chino’s Bar, Newcastle Rohin Jones, The Broken Needles, Tender Bones, Camperdown and Out

Grand Junction Hotel, Maitl Laura Hill, Shaun Kirk

Kincumber Hotel Bernie Segedin

Tues, February 7 Lizotte’s, Kincumber Colin Hay

Wed, February 8 Lizotte’s, Kincumber Minimum Brothers, Tim Sheumack, Matthew Hickey

Lizotte’s, Lambton Colin Hay

Northern Star Hotel, Hamilton Nick Raschke

Thur, February 9 Lizotte’s, Kincumber Think Rock n Food Trivia

Lizotte’s, Lambton Matt Finish

Grand Junction Hotel, Maitl

Laura Hill, Larissa Ann, Mudhouse, Aleyce Simmonds

Lizotte’s, Lambton Jade Gannon, Bye Bye Birdy

Dane-O

The Paper Kites

Kincumber Hotel

Lizotte’s, Kincumber

Rhys Zacher, Hayden French,

Seven Seas Hotel, Carrington

Vid & Guincy’s Vinyl

Great Northern Hotel, Newc

Fri, February 10

The Worstmn, Local Resident Failure The Chill

Grand Junction Hotel, Maitl

Wed, February 1

Guttermouth, Liberation Front,

Kincumber Hotel

Cortisone, The Big Empty, Level 8, Age of Menace

Thur, February 2

The Australian Beefweek Show, The Jonesez

Great Northern Hotel, Newc Electric Mary

Kincumber Hotel Overload

Lizotte’s, Kincumber Richard Clapton, Simon Shapiro

Entrance Leagues Club Josh Pyke

Grand Junction Hotel, Maitl Benny Walker, Tom Richardson

Lizotte’s, Kincumber Elixir, Daniel Champagne

Lizotte’s, Lambton Bodacious Cowboys

gig Guide Newcastle (cont.) gig Guide North Sat, February 11

Sun, February 19

Tues, January 17

Sat, January 21

Cambridge Hotel, Newcastle

Grand Junction Hotel, Maitl

Beach Hotel, Byron Bay

Ballina RSL

Kerser

Grand Junction Hotel, Maitl Van Walker, Liz Stringer

Hope Estate, Hunter Valley Rod Stewart

King Street Hotel, Newcastle Bombs Away

Lizotte’s, Kincumber Barry Leefs

Lizotte’s, Lambton Ruby Revue Burlesque

Newcastle Entertainment Cent Ronan Keating, Sharon Corr

Wickham Park Hotel, Islington Nick Raschke

Sun, February 12 Exchange Hotel, Hamilton Dave Tice and Mark Evans

Grand Junction Hotel, Maitl Van Walker, Liz Stringer

Kincumber Hotel Kelly Hope

Lizotte’s, Kincumber The Widowbirds, Lachlan Doley

Lizotte’s, Lambton Barry Leefs

Darren Jack Band

Great Northern Hotel, Newc San Cisco, The Jungle Giants

Kincumber Hotel Paul Story

Lizotte’s, Kincumber Cotton Keays and Morris

Mon, February 20 Fannys Nightclub, Newcastle Smokin Joe

Geoff Turnbull

Lalaland, Byron Bay Rhys Bynon

Pacific Hotel, Yamba Ulo

Woody’s, Byron Bay Thee Oh Sees, Straight Arrows, The Ganashz

Wed, February 22 Lizotte’s, Lambton Day Dreamers, Peta Evans-Taylor, Marty Worrall, Broadway Mile

Thur, February 23 Bateau Bay PCYC Parkway Drive, Hand Of Mercy, Northlane Swiss Army Wives Jon Stevens, Nick Saxon

Lizotte’s, Lambton Karl Broadie, Caitlin Harnett

The Stillsons

Hoey Moey Hotel, Coffs Damion Towner

Lalaland, Byron Bay Double Trouble

Pacific Hotel, Yamba Clay Blyth

Sawtell Hotel Errol Gray

Busby Marou, Georgia Fair Brett Sellwood

Pacific Hotel, Yamba 4 Way Street

Rails, Byron Bay

Lizotte’s, Kincumber

Kincumber Hotel

Tattersalls Hotel, Lismore

Tom Beasley, Bradley Quaife Thomas Lawson, Dan Southward, Melody Pool

Thur, February 16 Grand Junction Hotel, Maitl The Resonators

Lizotte’s, Kincumber Matt Finish

Lizotte’s, Lambton Cotton Keays and Morris

Harbour Masters

Lizotte’s, Kincumber Doug Parkinson

Lizotte’s, Lambton Jon Stevens, Nick Saxon

The Stillsons Kyle Watson

Cambridge Hotel, Newcastle

Beach Hotel, Byron Bay

Step-Panther, Maids, Vulture Culture

Great Northern Hotel, Newc Kill City Creeps

Lizotte’s, Lambton Doug Parkinson

Col Elliott Benjalu

Coolangatta Hotel Busby Marou, Georgia Fair

Finnians Tavern, Port Macq Jungal, Faye Blais

Great Northern Hotel, Byron Tim Stokes, Garret Kato, Jessamine

Sun, February 26

Hoey Moey Hotel, Coffs

Grand Junction Hotel, Maitl

Lalaland, Byron Bay

Kincumber Hotel Blackstar

Lizotte’s, Kincumber King Tide

Sat, February 18 Belmont 16 foot Sailing Club GANGgajang

Cambridge Hotel, Newcastle Helm

Fannys Nightclub, Newcastle MC Shureshock

Grand Junction Hotel, Maitl Cash Savage & the Last Drinks

Great Northern Hotel, Newc Sleepmakeswaves, I Am The Agent, Lander Configurations, Solkyri

Jewels Tavern The H Gang

Lizotte’s, Lambton King Tide

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Adam Eckersley band

Kincumber Hotel Tim Pringle

Lizotte’s, Kincumber Karl Broadie, Caitlin Harnett

Seven Seas Hotel, Carrington Nick Raschke

Tues, February 28 Newcastle Panthers Hatebreed, Cro-Mags, Biohazard

Quickfix DJ Falcon, And Oh!, Nubi

Lennox Point Hotel Dave Tice and Mark Evans

Mary Gilhoolies, Lismore Black Lullaby

Never Land Bar, Coolangatta Devola, DJ Otto, Tom and Jarry

Ocean Shores Tavern Richie Williams

Pacific Hotel, Yamba The Stillsons, The Lucky Wonders

Sawtell Hotel Bits and Pieces

Wed, February 29

Seaview Tavern, Woolgoolga

Lizotte’s, Kincumber

Slipway Hotel, Ballina

Madison Violet

Lizotte’s, Lambton Mark Wilkinson

The Edge Jabiru

Tacking Point Hotel Dazed

Tattersalls Hotel, Lismore Rhett Brambley

Yamba Bowling Club Caravana Sun

Elixir – Katie Noonan

3-4 Feb

Ian Moss

7 Feb

Colin Hay

10 Feb

Richard Clapton

11 Feb

Barry Leefs

14 Feb

Valentine’s Day w/

Brian Watts Hey Now, Cory Fletcher, J Rose, Bradley Rodgers

Sawtell Hotel The Frapp

Seaview Tavern, Woolgoolga Cheynne Murphy Trio

Slipway Hotel, Ballina Dr Baz Matcham Sun Araw, Prince Rama, Rites Wild

Sun, January 22 Beach Hotel, Byron Bay

Ashleigh Grace

Beatdusta, Longtime, Paua

Harrington Hotel Caravana Sun

Hoey Moey Hotel, Coffs Benjalu

Lalaland, Byron Bay

16 Feb

Matt Finish

17 Feb

King Tide

19 Feb

Lazy Sunday Lunch with

Discrow, Daniel Webber

Pacific Hotel, Yamba

Ballina RSL

2 Feb

Never Land Bar, Coolangatta

Australian Hotel, Ballina

Sat, February 25 Back to School Party w/ Palms,

Fat Albert

Lennox Point Hotel

Fri, February 17 The Widowbirds, Lachy Doley

Rhys Bynon

Fri, January 20 Moonstone

Choirboys

Mike Bateman

Woody’s, Byron Bay

Lalaland, Byron Bay

28 Jan

Lalaland, Byron Bay

Beach Hotel, Byron Bay Dave Tice and Mark Evans

Graeme Connors

Caravana Sun

Treehouse On Belongil, Byron

Hoey Moey Hotel, Coffs

20 Jan

Hoey Moey Hotel, Coffs

Thur, January 19

Fri, February 24

Lizotte’s, Lambton

Jabiru

Harrington Hotel

Mary Gilhoolies, Lismore

Wed, February 15

Jessica King, James Osborn,

Kit Bray, Danny Ross, Si Fixion

Cherry St Sports Club, Ballina

Beach Hotel, Byron Bay

Lizotte’s, Kincumber

Claire Sheather, Jacob Emerson,

Bob Walton

Fannys Nightclub, Newcastle DJ Delicious, Jaytee, Encore, Angelo

Don’t forget — Live & Local every Wednesday night

Brewery, Byron Bay

Lennox Point Hotel

Lizotte’s, Kincumber

Zoe K and the Shadow Kats

Tim Stokes

Hoey Moey Hotel, Coffs

Glenn Massey

Ballina RSL Bowling Club

Wed, January 18

Grand Junction Hotel, Maitl

Lizotte’s, Lambton

Brewery, Byron Bay

Tues, February 21

Tues, February14 Ashleigh Grace

Garrett Kato

CENTRAL COAST

Cotton, Keays and Morris

Beth and Ben Mick Arlington

Seaview Tavern, Woolgoolga Lee Simpson & T Roy

Treehouse On Belongil, Byron Steph Rogers, Pocket of Stones

Wed, January 25

23 Feb

Jon Stevens

24 Feb

Doug Parkinson

26 Feb

Lazy Sunday Lunch

Beach Hotel, Byron Bay

with Karl Broadie &

Austin Busch

Brewery, Byron Bay

Caitlin Harnett

Passenger

Hoey Moey Hotel, Coffs Dave Strauss

29 Feb

Madison Violet

Ocean View Hotel, Urunga Watussi

Port Macquarie Panthers Icehouse, Chris Rose

The Aztec, Forster Caravana Sun

YAC, Byron Bay Backtrack, Iron Mind

Thur, January 26 Australian Hotel, Ballina Shybaby

Hoey Moey Hotel, Coffs Geoff Turnbull

Lalaland, Byron Bay

For bookings and information, phone (02) 4368 2017 or visit lizottes.com.au

Brett Sellwood

Ocean Shores Tavern Dave Cavanagh

Pacific Hotel, Yamba Brian Watt

Slipway Hotel, Ballina Glenn Massey

reverb magazine issue #066 — Jan–Feb 2012 43

gig Guide North (cont.) Fri, January 27

Wed, February 1

Thur, February 9

Sat, February 18

Australian Hotel, Ballina

Beach Hotel, Byron Bay

Hoey Moey Hotel, Coffs

Australian Hotel, Ballina

Col Meredith

Ballina RSL The Hard Word

Beach Hotel, Byron Bay Kamakazi Thunderkats

Federal Hotel, Bellingen Caravana Sun

Hoey Moey Hotel, Coffs Little Fish

Lalaland, Byron Bay Bart B More, And Oh!, Nubi

Lennox Point Hotel Blind Willy Wagtail

Pacific Hotel, Yamba Neil Anderson, Big Music

Port Macquarie Hotel The Stillsons

Sawtell Hotel Secret Squirrel

Seaview Tavern, Woolgoolga Mason Rack

Slipway Hotel, Ballina Bill Jacobi

Tattersalls Hotel, Lismore Matt and Brie

Treehouse On Belongil, Byron Benny D Williams

Sat, January 28 Ballina RSL Mambises

Ballina RSL Bowling Club Neil Anderson

Brewery, Byron Bay Graveyard Train

Cherry St Sports Club, Ballina Smooth Grooves

Finnians Tavern, Port Macq Caravana Sun

Goonellabah Tavern Jabiru

Hoey Moey Hotel, Coffs Mike Bateman

Lalaland, Byron Bay Rhys Bynon

Lennox Point Hotel Kamakazi Thunderkats

Never Land Bar, Coolangatta Surecut Kids, Cory Fletcher, J Rose, Bradley Rodgers

Ocean View Hotel, Urunga The Stillsons

Pacific Hotel, Yamba Ben Eaton

Sawtell Hotel Matty Devitt

Slipway Hotel, Ballina Yolan

Tattersalls Hotel, Lismore Indorsed by the Mayor

Tommy’s Tavern, Lismore Rochelle Lees

Treehouse On Belongil, Byron Guy Katchel

Yamba YHA Backpacker Resort Tim Stokes

Sun, January 29 Beach Hotel, Byron Bay Feremones

Great Northern Hotel, Byron The Drums

Hoey Moey Hotel, Coffs Coastal Soul

Lalaland, Byron Bay Discrow, Daniel Webber

Lennox Point Hotel The Troubadours

Treehouse On Belongil, Byron Guido, Rebecca Ireland

44 reverb

magazine issue #066 — Jan–Feb 2012

Wolf and Cub

Hoey Moey Hotel, Coffs Damo

Thur, February 2 Hoey Moey Hotel, Coffs Ben Francis

Rails, Byron Bay Laura Hill

Slipway Hotel, Ballina Matt Buggy

Tattersalls Hotel, Lismore Kyle Watson

Treehouse On Belongil, Byron Nice Verdes

Fri, February 3 Australian Hotel, Ballina Julz Parker

Ballina RSL Round Mountain Girls

Cherry St Sports Club, Ballina Two Face

Hoey Moey Hotel, Coffs Quickfix

Lennox Point Hotel Marshall and the Fro

Port Macquarie Panthers Josh Pyke

Sawtell Hotel Ben Francis

Slipway Hotel, Ballina Scott Davey

Tattersalls Hotel, Lismore Chris Fisher

Treehouse On Belongil, Byron Mattie Barker

Sat, February 4 Australian Hotel, Ballina Coast Road

Ballina RSL Andy Sugarcane Collins

Byron Theatre, Byron Bay Deva Premal & Miten, Manose & Maneesh de Moor

Goonellabah Tavern Fat Albert

Great Northern Hotel, Byron 360

Hoey Moey Hotel, Coffs Josh Pyke

Lennox Point Hotel Post Mortemius

Slipway Hotel, Ballina Slim Pickins

Tommy’s Tavern, Lismore Pink Zinc

Treehouse On Belongil, Byron Astrid & the Asteroids

Sun, February 5 By The River, Ballina The H Gang

Byron Theatre, Byron Bay Deva Premal & Miten, Manose & Maneesh de Moor

Cherry St Sports Club, Ballina Ballina Country Music Club

Hoey Moey Hotel, Coffs Lazy Sundays

Lennox Point Hotel Soul Reference

Ocean Shores Tavern Shannon

Treehouse On Belongil, Byron Dion Read, Deep Water

Owen Shannon

Port Macquarie Panthers Gina Jeffreys, Beccy Cole

Rails, Byron Bay The H Gang

Tattersalls Hotel, Lismore Cole Cox Lovejoy

Fri, February 10 Australian Hotel, Ballina The I in Me

Ballina RSL Fat Albert

Hoey Moey Hotel, Coffs Mike Bateman

Lennox Point Hotel The H Gang

Sawtell Hotel Damian Towner

Tattersalls Hotel, Lismore Bevan Spiers

Treehouse On Belongil, Byron Black Billy Goat

Hussy Hicks

Ballina RSL Nathan Kaye

Goonellabah Tavern Marshall

Lennox Point Hotel Broadfoot

Treehouse On Belongil, Byron Van Walker, Jim Dowling

YAC, Byron Bay Parkway Drive, Hand Of Mercy, Survival

Sun, February 19 Lennox Point Hotel Luke Yeaman

Treehouse On Belongil, Byron The Resonators

Twin Towns Serv Club, Tweed Parkway Drive, Hand Of Mercy, Survival

Wed, February 22

Sat, February 11

Hoey Moey Hotel, Coffs

Ballina RSL

Port Macquarie Panthers

Phil and Gaz

Cherry St Sports Club, Ballina Occa Rock

Goonellabah Tavern Nitestar

Lennox Point Hotel One 2 Many

Mary Gilhoolies, Lismore Sky Daddy

Slipway Hotel, Ballina Neil Anderson

Tommy’s Tavern, Lismore Clockwork Orange

Treehouse On Belongil, Byron Kindling

Ben Francis Parkway Drive, Hand Of Mercy, Northlane

Thur, February 23 Hoey Moey Hotel, Coffs Keogh

Tattersalls Hotel, Lismore Cod Squad

Treehouse On Belongil, Byron Tim Stokes

Fri, February 24 Ballina RSL Jabiru

Sun, February 12

Hoey Moey Hotel, Coffs

Ballina RSL

Lennox Point Hotel

Beccy Cole, Gina Jeffreys

Hoey Moey Hotel, Coffs Geoff Turnbull

Lennox Point Hotel Sugarcane Collins

Treehouse On Belongil, Byron Nathan Kaye

Thur, February 16 Brewery, Byron Bay San Cisco, The Jungle Giants

Hoey Moey Hotel, Coffs Damo

SCU Unibar, Lismore The H Gang

Tattersalls Hotel, Lismore Acid Bleed

Quickfix Sounds of Summer DJ comp - heat 2

Ocean Shores Tavern Marshall

Seaview Tavern, Woolgoolga The Weekenders

Tattersalls Hotel, Lismore Brian Watt

Treehouse On Belongil, Byron Bill Jacobi

Sat, February 25 Australian Hotel, Ballina Glenn Massey

Ballina RSL Oz Latin Brothers

Great Northern Hotel, Byron Dan Mangan

Fri, February 17

Sun, February 26

Australian Hotel, Ballina

Hoey Moey Hotel, Coffs

Occarock

Hoey Moey Hotel, Coffs Secret Squirrel

Lennox Point Hotel Sounds of Summer DJ comp - heat 1

No. 5 Church St, Bellingen Van Walker

Port Macquarie Hotel The H Gang

Sawtell Hotel Viper Creek Band

Tattersalls Hotel, Lismore

Coastal Soul

Ocean Shores Tavern Dave Cavanagh

Wed, February 29 Glasshouse, Port Macquarie Elixir

Hoey Moey Hotel, Coffs Damo

YAC, Byron Bay Trapped Under Ice, Relentless

Bill Jacobi

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